映画監督Robert Bresson（ロベール・ブレッソン）の世界、ラルジャン

Review: There is a spoiler(ネタバレの記載あり！） Robert Bresson creates a harrowing(悲惨な）, caustic（辛辣な） and socially relevant indictment（起訴、非難） of materialism and amorality（超道徳性） in his final masterpiece, L'Argent. The protagonist, Yvon, is first introduced through a shot of his hands as he connects the fuel supply line. As in Pickpocket, the image suggests a figurative （比喩）fracture(ばらばらな様） between the body and the soul. However, in L'Argent, the body is not a biological entity, but rather, a representation of a material one: the universal mechanism of money - created, utilized, circulated. In the impersonal （人間味のない、冷たい）detachment （孤立）of contemporary society, money serves as the surrogate for human emotion - love, guilt, shame, devotion, trust - are frivolously（軽率、軽薄） expressed through its casual exchange. But money also exihibits a biological behavior in its virulence（毒々しさ） - the forged banknotes, in essence, contaminate everyone who comes into contact with them. Norbert is punished for his childish prank. The photographer's reprehensible act escalates to perjury（偽証）. Lucien's deception (策略)eventually leads to theft. Yvon resorts to a life of crime and brutal murder. Inevitably, the pursuit of money serves as a symbolic means for the destruction of the soul. As the counterfeit note serves as an imitation of money, so too does money, in turn, represent an artificiality - a false soul