Au Hasard Balthazar
Balthazar was an untrained donkey during most of the filming, which made Robert Bresson's work a real challenge. The only scene for which the donkey was trained was the circus math trick.,In the very last shot of the film the shadow of the camera man or someone else enters the picture from the bottom right.,Gerard: Lend him to us.
Marie's mother: He's worked enough. He's old. He's all I have.
Gerard: Just for a day.
Marie's mother: Besides, he's a saint.,Restored in 2014 from the original 35mm negative by the Éclair Group and L.E. Diapason.,Edited into Histoire(s) du cinéma: Seul le cinéma (1994),Piano Sonata No.20 in A Major, II. Andantino (D. 959)
Music by Franz Schubert
Performed by Jean-Joël Barbier,This is a very important film. It makes you look into yourself and examine your own worth.

The world is not a fair place to live in. It has its own social structures and with each their is a certain perception of worth. Robert Bresson displays these perceptions from the bottom up.

Much like Vittorio DeSica's Umberto D, this film intertwines the relationship between man and beast. But who is the beast? It's society.

With images shot in crisp black and white Robert Bresson reveals the sordidness of the human soul, how cruel, selfish, pathetic, and unjust it can be. Au Hasard Balthazar is not an easy film to watch, but its honesty and approach towards society's injustices make it a must see.,