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* SlidingScaleOfIdealismVersusCynicism: His early films (Such as ''{{Film/Pickpocket}}'' and ''Film/DiaryOfACountryPriest'' had a couple of idealistic elements. However, the large majority of his filmography is notoriously bleak and misanthropic.
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* SlidingScaleOfIdealismVersusCynicism: His early films (Such as ''{{Film/Pickpocket}}'' and ''Film/DiaryOfACountryPriest'' ''Film/DiaryOfACountryPriest'') had a couple of idealistic elements. However, the large majority of his filmography is notoriously bleak and misanthropic.
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* SlidingScaleOfIdealismVersusCynicism: His early films (Such as ''{{Film/Pickpocket}}'' and ''Film/DiaryOfACountryPriest'' had a couple of idealistic elements. However, the large majority of his filmography is notoriously bleak and misanthropic.
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Bresson is sometimes associated with the UsefulNotes/FrenchNewWave movement, but he was actually considerably older than the likes of Creator/FrancoisTruffaut, Creator/JeanLucGodard, Creator/EricRohmer, and Creator/JacquesRivette. However, they all tended to revere him, especially Godard, and he was if anything even more of an influence on other filmmakers such as Creator/AndreiTarkovsky, Creator/RainerWernerFassbinder, Creator/TheDardennes, Creator/AkiKaurismaki, Creator/MartinScorsese (''Film/TaxiDriver'' is very Bressonian) and, in particular, ''Taxi Driver''’s screenwriter Creator/PaulSchrader, whose book ''Ozu / Bresson / Dreyer: Transcendental Style in Film'' contains some of the acutest writing about Bresson.[[note]]Two of Schrader’s films, ''Film/AmericanGigolo'' and ''Light Sleeper'', contain endings which are, as he freely acknowledges, a direct homage to the end of Bresson’s ''Pickpocket''.[[/note]]
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Bresson is sometimes associated with the UsefulNotes/FrenchNewWave movement, but he was actually considerably older than the likes of Creator/FrancoisTruffaut, Creator/JeanLucGodard, Creator/EricRohmer, and Creator/JacquesRivette. However, they all tended to revere him, especially Godard, and he was if anything even more of an influence on other filmmakers such as Creator/AndreiTarkovsky, Creator/RainerWernerFassbinder, Creator/TheDardennes, Creator/AkiKaurismaki, Creator/MartinScorsese (''Film/TaxiDriver'' is very Bressonian) and, in particular, ''Taxi Driver''’s screenwriter Creator/PaulSchrader, whose book ''Ozu / Bresson / Dreyer: Transcendental Style in Film'' contains some of the acutest writing about Bresson.[[note]]Two [[note]]Three of Schrader’s films, ''Film/AmericanGigolo'' ''Film/AmericanGigolo'', ''The Card Counter'' and ''Light Sleeper'', contain endings which are, as he freely acknowledges, a direct homage to the end of Bresson’s ''Pickpocket''.[[/note]]
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An Axe To Grind is no longer a trope
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* AnAxeToGrind: An axe is seen lying around in the last reel of ''L'argent''. [[spoiler: Yes, it is a Chekhovs Gun.]]
