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Close-ups of human faces and hands, shots that are anchored around human individuals, with landscapes or cityscapes only present in so far as they represent the environment in which these individuals live and act, a camera that moves and breathes with human bodies, scenes defined by the actions and interactions of the characters, narratives of human despair and resilience, broken relationships and offers of trust – without wanting to delimit the multifaceted oeuvre of Belgian filmmakers Jean-Pierre and Luc Dardenne, these prominent aesthetic and narrative elements of their films underline one central theme across their work, the search for the human. What is the human being? What are the conditions that hinder or promote human flourishing? How can human beings exist in an industrialized, technicized society? How can they maintain their humanity under dehumanizing conditions? These questions are not explicitly religious, let alone specific to Christianity, and they are treated in the films of the Dardennes without direct reference to religious traditions and their bids to make sense of human existence.

Motion picture producers and directors

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Motion picture producers and directors --- Mungiu, Cristian,

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Publisher Description (unedited publisher data) Robert Bresson, the director of such cinematic master-pieces as Pickpocket, A Man Escaped Mouchette, and L'Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the "advances" of Cinerama and Cinema-Scope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing-in his view-art of film. Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson's one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as "Sound ... invented silence in cinema," "It's the film that ... gives life to the characters-not the characters that give life to the film," and (echoing the Bible) "Every idle word shall be counted." Bresson's integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson's movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: "It's always ready to feel before it understands. And that's how it should be.

Motion picture producers and directors --- Bresson, Robert

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Motion pictures --- Cinematography --- Film critics --- Motion picture producers and directors

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Interviews with the Polish filmmaker who garnered international acclaim (including an Oscar nomination) for his Three Colors trilogy of films and was proclaimed one of Europe's most important filmmakers by many critics

Motion picture producers and directors --- Kieślowski, Krzysztof,