Editing Robert Bresson (section)

==Legacy==
Bresson is often referred to as a "[[patron saint]]" of cinema, not only for the strong Catholic themes found throughout his oeuvre, but also for his notable contributions to the art of film. His style can be detected through his use of sound, associating selected sounds with images or characters; paring dramatic form to its essentials by the spare use of music; and through his infamous 'actor-model' methods of directing his almost exclusively non-professional actors. [[Mark Cousins (film critic)|Mark Cousins]] writes:<ref name="The Story of Film"/>

<blockquote>So complete was Bresson's rejection of cinema norms that he has a tendency to fall outside film history. However, his uncompromising stance has been extremely influential in some quarters.</blockquote>

Bresson's book ''[[Notes on the Cinematographer]]'' (1975) is one of the most respected books on film theory and criticism. His theories about film greatly influenced other filmmakers, particularly the [[French New Wave]] directors.

===French cinema===
Opposing the established pre-war French cinema (known as ''Tradition de la Qualité'' ["tradition of quality"]) by offering his own personal responses to the question "what is cinema?",<ref name="horschamp.qc.ca">{{Cite web|url=https://offscreen.com/view/bresson|title=Robert Bresson as a Precursor to the Nouvelle Vague: A Brief Historical Sketch|website=offscreen.com}}</ref> and by formulating his ascetic style, Bresson gained a high reputation with the founders of the [[French New Wave]]. He is often listed (along with [[Alexandre Astruc]] and [[André Bazin]]) as one of the main figures who influenced them. New Wave pioneers praised Bresson and posited him as a prototype for or precursor to the movement. However, Bresson was neither as overtly experimental nor as outwardly political as the New Wave filmmakers, and his religious views ([[Catholicism]] and [[Jansenism]]) were not attractive to most of the filmmakers associated with the movement.<ref name="horschamp.qc.ca"/>

In his development of [[auteur theory]], [[François Truffaut]] lists Bresson among the few directors to whom the term "auteur" can genuinely be applied, and later names him as one of the only examples of directors who could approach even the so-called "unfilmable" scenes, using the film narrative at its disposal.<ref>{{cite journal |last1=Truffaut |first1=François |title=''Une certaine tendance du cinéma français'' ("A certain tendency in French cinema") |journal=Cahiers du Cinéma |date=1954 |url=https://www.newwavefilm.com/about/a-certain-tendency-of-french-cinema-truffaut.shtml |access-date=22 March 2023}}</ref> [[Jean-Luc Godard]] also looked upon Bresson with high admiration ("Robert Bresson is French cinema, as Dostoevsky is the Russian novel and Mozart is the German music."<ref name="theyshootpictures.com">{{cite web |title=TSPDT – Robert Bresson |url=http://www.theyshootpictures.com/bressonrobert.htm |access-date=9 August 2018 |website=theyshootpictures.com}}</ref>) Screenwriter and director [[Alain Cavalier]] describes Bresson's role as pivotal not only in the New Wave movement, but for French cinema in general, writing, "In French cinema you have a father and a mother: the father is Bresson and the mother is [[Jean Renoir|Renoir]], with Bresson representing the strictness of the law and Renoir warmth and generosity. All the better French cinema has and will have to connect to Bresson in some way."<ref name="bfi.org.uk"/>

=== Reception and influence===
Bresson has also influenced a number of other filmmakers, including [[Andrei Tarkovsky]], [[Chantal Akerman]],<ref name="Reader">{{cite book |author1=Keith Reader |title=Robert Bresson |date=2 September 2000 |publisher=Manchester University Press |isbn=978-0-7190-5366-5}}</ref> [[Jean Eustache]],<ref name="Reader" /> [[Abel Ferrara]],<ref>{{cite web |author1=Alison Nastasi |title=Abel Ferrara on His Strauss-Kahn-Inspired 'Welcome to New York,' His Battle With Distributors, and 'Pasolini' |url=https://www.flavorwire.com/510822/its-criminal-and-my-names-on-it-abel-ferrara-on-his-strauss-kahn-inspired-welcome-to-new-york-his-battle-with-distributors-and-pasolini |website=FlavorWire |access-date=30 June 2021 |date=25 March 2015}}</ref> [[Philippe Garrel]],<ref name="Reader" /> [[Hal Hartley]],<ref name="Reader" /> [[Monte Hellman]],<ref name="Reader" /> [[Jim Jarmusch]],<ref>{{cite book |author1=Jamie Sexton |title=Stranger Than Paradise |date=24 April 2018 |publisher=Columbia University Press |isbn=978-0-231-85102-2}}</ref> [[Louis Malle]],<ref>{{cite book |author1=Keith Reader |title=Robert Bresson |date=2 September 2000 |isbn=978-0-7190-5366-5 |page=47 |chapter=The 'Prison Cycle' |quote=Malle even suggests that he was unconsciously influenced by the Bresson film in his casting of Blaise.}}</ref> [[Michael Haneke]], [[Olivier Assayas]], [[Atom Egoyan]], the [[Dardenne brothers]], [[Aki Kaurismäki]],<ref name="Reader" /> and [[Paul Schrader]], whose book ''Transcendental Style in Film: Ozu, Bresson, Dreyer'' includes a detailed critical analysis. The Swedish filmmaker [[Ingmar Bergman]] praised and admired Bresson's films such as ''[[Mouchette]]'' and ''[[Diary of a Country Priest]]'', although he disliked ''[[Au hasard Balthazar]]''.<ref>{{cite web|title=Bergman about other filmmakers|url=http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45|work=Ingmar Bergman Face to Face|publisher=Ingmar Bergman Foundation|access-date=26 May 2011|archive-url=https://web.archive.org/web/20110721100149/http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45|archive-date=21 July 2011|quote=Ingmar Bergman: "Jag är också oerhört förtjust i En prästmans dagbok, som är ett av de märkligaste verk som någonsin gjordes. Nattvardsgästerna är ganska influerad av den."}}</ref><ref>{{cite book |author1=Philip Mosley |title=Ingmar Bergman – The Cinema as Mistress |date=1981 |publisher=M. Boyars |isbn=978-0-7145-2644-7 |page=71}}</ref><ref>{{cite web |author1=John Simon |title=Ingmar Bergman on Mouchette |url=http://www.robert-bresson.com/Words/Bergman_on_Mouchette.html |website=RobertBresson.com |access-date=18 June 2021 |quote=John Simon: "What about Bresson? How do you feel about him?" Ingmar Bergman: "Oh, Mouchette! I loved it, I loved it! But Balthazar was so boring, I slept through it." John Simon: "I liked Les Dames du Bois de Boulogne and A Man Escaped, but I would say The Diary of a Country Priest is the best one." Ingmar Bergman: "I have seen it four or five times and could see it again... and Mouchette... really..."}}</ref> The French filmmaker [[Jean Cocteau]] held Bresson in high regard.<ref>{{cite web |author1=Srikanth Srinivasan |title=Outtakes: Robert Bresson |url=https://www.thehindu.com/features/cinema/cinema-columns/outtakes-robert-bresson/article5032294.ece |website=The Hindu |publisher=Thg Publishing Pvt Ltd. |access-date=30 June 2021 |date=17 August 2013 |archive-url=https://web.archive.org/web/20210630211646/https://www.thehindu.com/features/cinema/cinema-columns/outtakes-robert-bresson/article5032294.ece |archive-date=30 June 2021 |quote=Contemporaries such as Andrei Tarkovsky, Jean Cocteau and Marguerite Duras and the critic-filmmakers of the French New Wave held him in very high regard.}}</ref> The French filmmaker [[Alain Resnais]] was a strong admirer of Bresson and his work.<ref>{{cite journal |author1=Noel Burch |author2=Alain Resnais |title=A Conversation with Alain Resnais |journal=Film Quarterly |publisher=University of California Press |date=1960 |volume=13 |issue=3 |pages=27–29 |doi=10.2307/1210431 |jstor=1210431 |quote=Resnais is a shy, rather nerv- ... eclectic. He admires Bresson tremendously,}}</ref> The French filmmaker [[Jean-Pierre Melville]] was also fond of Bresson and his work.<ref>{{cite book |author1=Richard Neupert |title=A History of the French New Wave Cinema |date=20 April 2007 |publisher=University of Wisconsin Press |isbn=978-0-299-21703-7 |pages=62–63 |chapter=Testing the Water |quote=Melville was fond of Hollywood cinema as well as of many of the contemporary French auteurs, such as Jean Renoir, Jean Cocteau, and Robert Bresson.}}</ref> The French filmmaker [[Jacques Rivette]] has acknowledged Bresson's influence on his films.<ref>{{cite book |author1=Cinematheque Ontario |title=Robert Bresson (Revised) |date=1998 |publisher=Toronto International Film Festival |isbn=978-0-9682969-1-2 |page=77 |quote=...Jacques Rivette have repeatedly acknowledged their debt to Bresson.}}</ref> The Polish filmmaker [[Krzysztof Kieślowski]] was also influenced by him and ranked Bresson's film, ''[[A Man Escaped]]'' as one of the top ten films that "affected" him the most.<ref>{{cite book |author1=Joseph Kickasola |title=The Films of Krzysztof Kieslowski – The Liminal Image |date=2004 |publisher=Bloomsbury Academic |isbn=978-0-8264-1559-2 |page=26 }}</ref> The Italian filmmaker [[Michelangelo Antonioni]] was influenced by Bresson's film ''[[Les Dames du Bois de Boulogne]]''.<ref>{{cite book |author1=Aldo Tassone |title=Conversation with Antonioni |chapter=Positif 292 (June 1985) |quote=Interviewer: "Are there any painters who have particularly influenced you?" Antonioni: "Well, I do like painting, but I can honestly say that I haven’t been influenced by any one painter in particular. The same goes for the cinema too. Perhaps, at a certain time, I was influenced by one of Robert Bresson's films, though just one – Les Dames du Bois de Boulogne – but not by any others."}}</ref> The German filmmaker [[Werner Herzog]] praised Bresson's films such as [[Pickpocket (film)|''Pickpocket'']] and ''[[Au hasard Balthazar]]''.<ref>{{cite web |author1=Literary Hub |title=Werner Herzog on the Books Every Filmmaker Should Read |url=https://lithub.com/werner-herzog-on-the-books-every-filmmaker-should-read/ |website=Literary Hub |access-date=23 September 2021 |date=10 August 2016 |quote=Herzog: "...Robert Bresson's Pickpocket. This is phenomenal; it just make me ache. So intense and so beautiful… It makes you ache, it's so beautiful. And we also watched his Au hasard Balthazar about the donkey Balthazar. It's an incredible film."}}</ref> The Hungarian filmmaker [[Béla Tarr]] was influenced by Bresson and listed Bresson film ''Au hasard Balthazar'' on his top ten films of all time.<ref>{{cite web |author1=Eric Schlosser |title=Interview with Béla Tarr: About Werckmeister Harmonies (Cannes 2000, Director's Fortnight) |url=https://brightlightsfilm.com/interview-bela-tarr-werckmeister-harmonies-cannes-2000-directors-fortnight/ |website=Bright Lights Film |publisher=Bright Lights Film Journal |access-date=28 June 2021 |date=1 October 2000 |quote=Interviewer: "Béla Tarr, is your work influenced by other filmmakers?" Béla Tarr: "I remember some movies from my young years, it was the time when I saw many movies. Now I have no time, and I don't like to go and watch movies as I used to. But people like Robert Bresson, Ozu. I like some Fassbinder movies very much. Cassavettes. Hungarian films too."}}</ref><ref>{{cite web |title=Béla Tarr |url=https://www2.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/895 |archive-url=https://web.archive.org/web/20160309223102/http://www.bfi.org.uk/films-tv-people//sightandsoundpoll2012/voter/895 |url-status=dead |archive-date=9 March 2016 |publisher=British Film Institute|access-date=28 June 2021}}</ref><ref name="Morari">{{cite book |author1=Codruţa Morari |title=The Bressonians – French Cinema and the Culture of Authorship |publisher=Berghahn Books |isbn=978-1-78533-572-3 |page=59 |chapter=An Elusive Style|date=July 2017 }}</ref> The Iranian filmmaker [[Abbas Kiarostami]] was highly influenced by Bresson and mentioned the personal importance of Bresson's book, ''[[Notes on the Cinematographer]]''.<ref>{{cite web |author1=Tom Paulus |title=Truth in Cinema: The Riddle of Kiarostami |url=https://cinea.be/truth-in-cinema-the-riddle-of-kiarostami/ |website=Cinea |access-date=30 June 2021 |date=9 December 2016 |quote=Kiarostami's greatest cinematic inspiration, Robert Bresson, was also convinced that the importance of the image is in its relationship to what comes before and after.}}</ref><ref>{{cite web |author1=Filmmakers |author2=Larry Gross |title=Talkhouse Film Contributors Remember Abbas Kiarostami |url=https://www.talkhouse.com/talkhouse-film-contributors-remember-abbas-kiarostami/ |website=Talkhouse |publisher=Talkhouse, Inc. |access-date=30 June 2021 |date=6 July 2016 |quote=The next day he gave a press conference, talking about the personal importance of Bresson's book Notes on the Cinematographer for him...}}</ref> The Greek filmmaker [[Theo Angelopoulos]] listed Bresson's film ''Pickpocket'' on his top ten films of all time.<ref>{{cite web |title=Theo Angelopoulos |url=http://old.bfi.org.uk/sightandsound/polls/topten/poll/voter.php?forename=Theo&surname=Angelopoulos |archive-url=https://web.archive.org/web/20120626191849/http://old.bfi.org.uk/sightandsound/polls/topten/poll/voter.php?forename=Theo&surname=Angelopoulos |url-status=dead |archive-date=26 June 2012 |publisher=British Film Institute|access-date=28 June 2021}}</ref> The German director [[Wim Wenders]] praised and admired Bresson's films such as ''Au Hasard Balthazar'' and ''Mouchette'', which were influential to his film career.<ref>{{cite web |author1=DFF Deutsches Filminstitut & Filmmuseum |title=CARTE BLANCHE: WIM WENDERS // AU HASARD BALTHAZAR (1966) |url=https://www.youtube.com/watch?v=wTG8Liv34uc |website=YouTube |date=October 4, 2018 |quote=Das Kino des Deutschen Filmmuseums ehrt Wim Wenders im Oktober 2018 mit einer Carte Blanche. Einen Monat lang präsentiert der Regisseur jene Werke aus der Filmgeschichte, die ihn besonders geprägt und beeinflusst haben.}}</ref><ref>{{cite web |author1=criterioncollection |title=Wim Wenders' Closet Picks |url=https://www.youtube.com/watch?v=6dXSH9n2aC4 |website=YouTube |access-date=17 August 2024 |date=March 15, 2024}}</ref>

The German filmmaker [[Rainer Werner Fassbinder]] was influenced by Bresson and championed and paid homage to Bresson's film ''[[The Devil Probably]]'' with his film [[The Third Generation (1979 film)|''The Third Generation'']].<ref>{{cite web |author1=James Quandt |date=7 February 2018 |title=10 great films that inspired Rainer Werner Fassbinder |url=https://www.bfi.org.uk/lists/10-great-films-inspired-rainer-werner-fassbinder |publisher=British Film Institute|access-date=28 June 2021 |quote=Like Godard, Fassbinder flaunted his influences through homage and citation – to Jean-Pierre Melville, Bertolt Brecht and Godard in his early crime films, to Bresson and Andrei Tarkovsky in The Third Generation (1979), to many American directors throughout his career.}}</ref><ref name="Morari" /> When Fassbinder was a member of the jury in the 1977 [[Berlin Film Festival]], he even went so far as to threaten to leave the jury (when his enthusiasm was not shared by his peers) unless his appreciation for Bresson's film was made known to the public.<ref>{{cite book |author1=Brian Price |title=Neither God Nor Master – Robert Bresson and Radical Politics |date=2011 |publisher=University of Minnesota Press |isbn=978-0-8166-5461-1 |page=148 |chapter=6 – The Agony of Ideas |quote=Fassbinder threatened to leave the jury unless his support for the film, which was entirely unappreciated by his colleagues, was made public.}}</ref> The [[Dardenne brothers]]'s film [[L'Enfant (film)|''L'Enfant'']] was influenced by Bresson's film ''Pickpocket''.<ref>{{cite web |author1=Manohla Dargis |author2=A.O. Scott |title=Two Belgians Win Top Prize at Cannes for Second Time |url=https://www.nytimes.com/2005/05/22/world/europe/two-belgians-win-top-prize-at-cannes-for-second-time.html |website=The New York Times |access-date=30 June 2021 |date=22 May 2005 |quote="The Child," a Belgian film directed by Jean-Pierre Dardenne and Luc Dardenne, won the {{Lang|fr|Palme d'Or|italic=no}} as best film at the 58th Cannes Film Festival on Saturday night. The film, which follows a young petty thief as he struggles with the moral dilemmas of fatherhood, was inspired by Dostoyevsky's "Crime and Punishment" and influenced by the classic French film "Pickpocket," by Robert Bresson.}}</ref> The German director [[Margarethe von Trotta]] lists Bresson as one of her favorite directors.<ref>{{cite book |title=Margarethe Von Trotta – Interviews |date=19 January 2018 |publisher=University Press of Mississippi |isbn=978-1-4968-1564-4 |page=5 |quote=Interestingly, von Trotta's favorite directors, even today, are men: Ingmar Bergman, Carlos Saura, Robert Bresson.}}</ref> The American filmmaker [[Wes Anderson]] listed ''Au hasard Balthazar'' as one of his favorite films in [[the Criterion Collection]] library and called Bresson's film ''Mouchette'', "terrific".<ref>{{cite web |author1=Zack Sharf |title=Wes Anderson's Favorite Movies: 30 Films the Auteur Wants You to See |url=https://www.indiewire.com/gallery/wes-anderson-favorite-movies-films/classe-tou-risques/ |website=IndieWire |publisher=Penske Business Media, LLC. |access-date=30 June 2021 |date=24 October 2019 |quote="We watched 'Au Hasard Balthazar' last night and loved it", Anderson told The Criterion Collection when naming his favorite films in the library. "You hate to see that poor donkey die. He takes a beating and presses on, and your heart goes out to him". Directed by Robert Bresson, the 1966 French drama follows a donkey and his various owners over the years. Anderson says he is also a fan of Bresson's "terrific" companion film "Mouchette", released in 1967.}}</ref> The American filmmaker [[Richard Linklater]] was influenced by Bresson's work and listed ''Au hasard Balthazar'' and ''Pickpocket'' in his top 10 film list from the Criterion Collection.<ref>{{cite web |title=Richard Linklater Presents Robert Bresson |url=https://a-bittersweet-life.tumblr.com/post/142659151284/richard-linklater-presents-robert-bresson |website=A-BitterSweet-Life |access-date=30 June 2021}}</ref><ref>{{cite web |title=Richard Linklater's Top 10 |url=https://www.criterion.com/current/top-10-lists/42-richard-linklater-s-top-10 |website=The Criterion Collection |access-date=30 June 2021 |date=21 November 2008}}</ref> The British-American filmmaker [[Christopher Nolan]] was influenced by Bresson's films (specifically ''Pickpocket'' and ''A Man Escaped'') for his film, [[Dunkirk (2017 film)|''Dunkirk'']].<ref>{{cite web |author1=Leonard Pearce |title=Christopher Nolan Inspired by Robert Bresson and Silent Films for 'Dunkirk,' Which Has "Little Dialogue" |url=https://thefilmstage.com/christopher-nolan-inspired-by-robert-bresson-and-silent-films-for-dunkirk-which-has-little-dialogue/ |website=The Film Stage |publisher=The Film Stage, L.L.C. |access-date=23 September 2021 |date=28 February 2017 |quote="I spent a lot of time reviewing the silent films for crowd scenes –the way extras move, evolve, how the space is staged and how the cameras capture it, the views used", Nolan tells Premiere Magazine. The director revealed that he brushed up on silent films such as Intolerance, Sunrise: A Song of Two Humans, and Greed, as well as the films of Robert Bresson (notably Pickpocket and A Man Escaped, to dissect the process of creating suspense through details), Wages of Fear, and, of course, Saving Private Ryan.}}</ref> The Greek filmmaker [[Yorgos Lanthimos]] listed Bresson as one of his favorite filmmakers and picked ''Pickpocket'' as "the most moving film I've ever seen".<ref>{{cite web |title=Yorgos Lanthimos & Ariane Labed's Closet Picks |url=https://www.criterion.com/shop/collection/467-yorgos-lanthimos-ariane-labeds-closet-picks |website=The Criterion Channel |access-date=1 January 2024}}</ref> [[Benny Safdie]] named the Bresson's film ''[[A Man Escaped]]'' as his favorite film of all time.<ref>{{cite web |author1=Jacqueline Coley |title=The Safdie Brothers' Five Favorite Films |url=https://editorial.rottentomatoes.com/article/the-safdie-brothers-five-favorite-films/ |publisher=Rotten Tomatoes |access-date=15 July 2021 |date=14 January 2020 |quote=Benny Safdie: "Then the second one – and let's say, this was in no particular order – but A Man Escaped, the [Robert] Bresson movie. That has to be my favorite movie of all time, just because it always makes me cry at the end, because I feel like I've achieved something that the character achieves. And it tells you what happens in the title, and it makes it no less suspenseful the entire way. You're literally feeling the sound of the gravel as he puts his foot down – those shots of the foot or the spoon going into the slot. All of these things, the editing of it, the character, the way he's using these actors who you don't really know, they just – you feel like they're real people. It's just so perfectly put together, and it's something where I kind of feel like I'm going along with the escape in a way that's just done by a master. In a weird way, I feel like Bresson is the Fontaine character in that movie. But what's weird is I've watched it again recently, and I had a totally different feeling of it, where it was more about society and how people are talking to each other. And then you realize Bresson is just kind of making the same movie every time, just with different [settings and characters]. One's World War II, one's Lancelot."}}</ref> [[Martin Scorsese]] praised Bresson as "one of the cinema's greatest artists" and an influence on his films such as ''[[Taxi Driver]]''.<ref>{{cite web |author1=Neil Mitchell |title=Taxi Driver: five films that influenced Scorsese's masterpiece |url=https://www.bfi.org.uk/features/taxi-driver-5-films-that-influenced-scorseses-masterpiece |publisher=British Film Institute|access-date=21 June 2021 |date=11 January 2018}}</ref><ref>{{cite web |author1=Rodrigo Perez |title=The Films of Robert Bresson: A Retrospective |url=https://www.indiewire.com/2012/04/the-films-of-robert-bresson-a-retrospective-111546/ |website=IndieWire |publisher=Penske Business Media, LLC. |access-date=21 June 2021 |date=18 April 2012 |quote="We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films", Martin Scorsese said in the 2010 book "A Passion For Film", describing the often overlooked French filmmaker as "one of the cinema's greatest artists".}}</ref> [[Andrei Tarkovsky]] held Bresson in very high regard,<ref>{{cite web|last=Le Cain|first=Maximillian|title=Andrei Tarkovsky|url=http://archive.sensesofcinema.com/contents/directors/02/tarkovsky.html|archive-url=https://web.archive.org/web/20100323020120/http://archive.sensesofcinema.com/contents/directors/02/tarkovsky.html|archive-date=23 March 2010}}</ref> noting him and [[Ingmar Bergman]] as his two favourite filmmakers, and stating: "I am only interested in the views of two people: one is called Bresson and one called Bergman."<ref>{{cite web|url=http://www.goodreads.com/author/quotes/16014.Andrei_Tarkovsky|title=Andrei Tarkovsky Quotes (Author of Sculpting in Time)|website=goodreads.com|access-date=9 August 2018}}</ref> In his book ''[[Sculpting in Time]]'', Tarkovsky describes Bresson as "perhaps the only artist in cinema, who achieved the perfect fusion of the finished work with a concept theoretically formulated beforehand."{{r|"theyshootpictures.com"}}

=== Rankings over time ===
Although the number of films listed in the decennial ''Sight and Sound'' poll has changed over time, Bresson has normally been well-represented in these polls. The following table represents the critics' poll, not the related directors' poll. Only rankings above #250 are listed.<ref>{{Cite web |last=Donia |first=Katie |date=2024 |title=The Complete Sight and Sound Greatest Films of All Time Database |url=https://parcel-react-bondie00.vercel.app/ |access-date=2024-10-09 |website=Vercel}}</ref><ref>{{Cite web |last=Donia |first=Katie |date=2024 |title=The Complete Sight and Sound Greatest Films of All Time Database |url=https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=6822&context=gc_etds |access-date=2024-10-08 |website=City University of New York}}</ref>
{| class="wikitable sortable"
|+
!Film (English title)
!1952
!1962
!1972
!1982
!1992
!2002
!2012
!2022
|-
|''[[Les Dames du Bois de Boulogne|The Ladies of the Bois de Boulogne]]''
|21
|47
|87
|80
|217
|131
|
|
|-
|[[Au hasard Balthazar|''Balthazar, at Random'']]
|
|
|32
|131
|62
|20
|16
|25
|-
|''[[Pickpocket (film)|Pickpocket]]''
|
|26
|155
|217
|31
|131
|63
|136
|-
|''[[A Man Escaped]]''
|
|
|155
|131
|217
|131
|69
|95
|-
|''[[Mouchette]]''
|
|
|18
|80
|
|
|118
|243
|-
|''[[L'Argent (1983 film)|Money]]''
|
|
|
|217
|62
|62
|109
|169
|-
|''[[Diary of a Country Priest]]''
|
|47
|87
|80
|131
|227
|144
|
|-
|''[[The Devil Probably]]''
|
|
|
|
|
|
|201
|
|-
|''[[A Gentle Woman]]''
|
|
|
|
|217
|
|
|
|}