Is Rosetta in the film Rosetta by Jean-Pierre and Luc Dardenne (1999) a contemporary Mouchette?
Yes  or   No?

“Often compared to Bresson’s Mouchette,  Rosetta’s conclusion is perhaps best described as “Bressonian.” In the end we see a young woman stripped of everything—at her most desperate and most defeated. Yet she has given up, hrown in the towel because of the nature of her character as opposed to the extensively defeating circumstances that she’s burdened under. Her final glance at the camera tells us how far she has been reduced. Her eyes are reaching out, unlike her past displays of anger, frustration, or selfishness, but instead with the least obstructed countenance she’s capable of offering. Just one small human cry for help—and yet it means everything.” Quoted from an article by Gary W. Tooze

There is a Bressonian purity to the path of Rosetta, but the Dardennes’ vision of her final, profound moral choice is far from the austere simplicity of Mouchette (Robert Bresson, 1966). Instead, it is an entangling and disorienting experience that disallows the viewer any space for Catholic reflection. It transports us into her world, enabling Rosetta’s desperate and hopelessly cruel experiences to play out inside the heart and across the surface of the skin. via When Bodies Collide: Rosetta | Senses of Cinema.

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