There is a famous tower on the campus of the University of California at Berkeley. The official name is Sather Tower, but no one calls it that. We call it The Campanile. It is a landmark that helps as a reference point for new students who don't quite know their way around yet. But for most of us, it is known for its carillon, which can be heard over much of Berkeley (we live a mile from campus, and we can hear it just fine).
A pair of falcons live on the tower, and they recently had triplets. A few webcams are set up so people can watch the lives of the young ones. I've taken a peek ... doesn't do much for me ... but my wife has it running constantly on her laptop so she can watch whenever she gets a notion. She loves it, and tells me tales about what the birds are doing.
Robert Bresson's films, minimalist and contemplative, demand our attention. (My favorite is A Man Escaped.) I often appreciate his movies more than like them, but among other things he is the ultimate "I'll do it my way" film maker, and while I tend to complain about those directors, I always respect them. And with Bresson, I have at times felt more than mere respect. L'Argent is one of those I like.
At first, L'Argent ("Money") seems to be a movie that follows a counterfeit bill through various hands, but eventually, it becomes a story about the people who come into contact with the money. You wouldn't say that "nothing happens" ... in fact, quite a bit happens. But it is presented in a matter-of-fact manner. Check out this clip, properly named "Car Chase":
A bank is being robbed. We see the getaway driver. We see a man walking down the street reading a newspaper ... he seems important, yet this is his only scene and he's largely irrelevant. We see cops with guns, we see the robber with a hostage. Back to the driver, who hears a shootout that we don't see. Eventually, a cop car pulls up alongside him, and he tries to escape (this begins the "car chase"). Bresson switches between shots of the driver's foot on the gas pedal and views from his rear view mirror. He quickly crashes into another car. It's hard to think of another cinematic car chase with so few fireworks. Something happens, all right, but it's as if Bresson doesn't want to us to see that something.
Bresson is also known for using non-professional actors. He doesn't want "acting" in his movies ... the blankness of the non-actor leaves the audience with nothing except the action (often as simple as a close-up of a face that moves slightly) and the dialogue (which is sparse at times). We don't, we can't be distracted. Action scenes without action, acting scenes without acting. It's easy to understand why my wife, who has no problem looking at a webcam of baby birds, would go stir crazy if she had to watch L'Argent.
Look at this scene, with the perfect YouTube title "Bresson eliminates acting". The driver is in prison. He gets a letter telling him his daughter has died. We see the letter, read by an anonymous mail checker whose face we don't see. In his cell, the letter is read by his cellmates. For a brief moment, we see him with his face buried in his pillow. He raises it for a moment, lowers it again. We never see him reading the letter. Bresson has "eliminated" any possibility of "acting" by shooting and editing it this way.
This is fascinating stuff if you want to delve in. Otherwise, it's not much better than the web cam of the baby birds. #164 on the They Shoot Pictures, Don't They list of the top 1000 films of all time.