Robert Bresson in the context of "Fyodor Dostoevsky"

In visual arts, music, and other media, minimalism is an art movement that had emerged in the post-World War II era in Western art. It is often interpreted as a reaction to abstract expressionism and modernism. The movement anticipated various post-minimalist practices in contemporary art that extended or critically reflected on minimalism's original aims. Minimalism emphasized reducing art to its essentials, focusing on the object itself and the viewer's experience with minimal mediation from the artist. Prominent artists associated with minimalism include Donald Judd, Agnes Martin, Dan Flavin, Carl Andre, Robert Morris, Anne Truitt, and Frank Stella.

Minimalism in music features methods like repetition and gradual variation, such as the works of La Monte Young, Terry Riley, Steve Reich, Philip Glass, Julius Eastman and John Adams. The term is sometimes used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman. In recent years, minimalism has come to refer to anything or anyone that is spare or reduced to its essentials.

A Francophile is a person who has a strong affinity or appreciation for the people, culture, language, history, or government of France. The term "Francophile" can be contrasted with Francophobe (or Gallophobe), someone who shows hatred or other forms of negative feelings towards all that is French.

A Francophile may enjoy French artists (such as Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Paul Cézanne, and Henri Matisse); authors and poets (such as Victor Hugo, Alexandre Dumas, Voltaire, Honoré de Balzac, and George Sand), musicians (such as Daft Punk, Jean-Michel Jarre, Serge Gainsbourg, Édith Piaf, Johnny Hallyday, and Carla Bruni), filmmakers (such as Jean-Luc Godard, François Truffaut, Robert Bresson, and Jean-Pierre Melville), and cuisine (such as baguettes, croissants, frog legs, French cheeses, and French wine). Francophilia often arises in former French colonies, where the elite spoke French and adopted many French habits. In other European countries such as Romania and Russia, French culture has also long been popular among the upper class. Historically, Francophilia has been associated with supporters of Enlightenment philosophy during and after the French Revolution, where democratic uprisings challenged the autocratic regimes of Europe, as well as liberalism and opposition to absolute monarchy and authoritarian governments in general.

Cahiers du Cinéma (French pronunciation: [kaje dy sinema], lit. 'notebooks on cinema') is a French film magazine co-founded in 1951 by André Bazin, Jacques Doniol-Valcroze, and Joseph-Marie Lo Duca. It developed from the earlier magazine Revue du Cinéma (lit. 'review of cinema' established in 1928) involving members of two Paris film clubs— Objectif 49 (Objective 49) (Robert Bresson, Jean Cocteau, and Alexandre Astruc, among others) and the Ciné-Club du Quartier Latin (Latin Quarter Cinema Club).

Initially edited by Doniol-Valcroze and, after 1957, by Éric Rohmer (aka, Maurice Scherer), it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol, and François Truffaut, who went on to become highly influential filmmakers. It is the oldest French-language film magazine in publication.

A Man Escaped, also known as A Man Escaped or The Wind Bloweth Where It Listeth (French: Un condamné à mort s'est échappé ou Le Vent souffle où il veut), is a 1956 French prison film directed by Robert Bresson. The film is loosely based on the memoir of André Devigny, a member of the French Resistance who was imprisoned by the occupying German forces at Montluc prison during World War II. Although the protagonist's name is altered in the film, it is inspired by Devigny's real-life escape.

A Man Escaped was screened in competition at the 1957 Cannes Film Festival and remains one of Bresson's most acclaimed and influential works.

Pickpocket is a 1959 French film written and directed by Robert Bresson. It stars Martin LaSalle, in his feature film debut, in the title role, and features Marika Green, Pierre Leymarie, and Jean Pélégri in supporting roles. It features a pickpocket who is drawn to crime, despite the intercession of his family, his friends, and even an empathetic policeman.

The film is generally considered to be one of Bresson's greatest films. Along with A Gentle Woman and Four Nights of a Dreamer, it is one of three Bresson movies heavily influenced by the works of Fyodor Dostoyevsky, Bresson's favorite author. It combines elements of Crime and Punishment's Rodion Raskolnikov (who questions whether moral rules should apply to superior men) with a street-crime plot inspired by Samuel Fuller's film Pickup on South Street (1953).

Au hasard Balthazar (French pronunciation: [o a.zaʁ bal.ta.zaʁ]; meaning "Balthazar, at Random"), also known as Balthazar, is a 1966 tragedy film written and directed by Robert Bresson. Believed to be inspired by a passage from Fyodor Dostoyevsky's 1868–69 novel The Idiot, the film follows a donkey as he is given to various owners, most of whom treat him callously.

Noted for Bresson's ascetic directorial style and regarded as a work of profound emotional effect, it is frequently listed as one of the greatest films of all time.

Mouchette (pronounced [mu.ʃɛt]) is a 1967 French tragedy film directed by Robert Bresson, starring Nadine Nortier and Jean-Claude Guilbert. It is based on the novel of the same name by Georges Bernanos. Bresson explained his choice of the novel, saying, "I found neither psychology or analysis in it. The substance of the book seemed usable. It could be sieved."

It was entered into the 1967 Cannes Film Festival, winning the OCIC Award (International Catholic Organization for Cinema and Audiovisual).

L'Argent (French pronunciation: [laʁ.ʒɑ̃], meaning "money") is a 1983 French tragedy film written and directed by Robert Bresson. The film is loosely inspired by the first part of Leo Tolstoy's posthumously published 1911 novella The Forged Coupon. It was Bresson's last film and won the Director's Prize at the 1983 Cannes Film Festival.