French film director Robert Bresson used music sparingly in his films, often making a selection of short pieces of classical music. This is the case of Au hasard Balthazar [Balthazar, At Random] (1966), in which analogies can be drawn between the way the parts of Schubert's Sonata in A major D.969 are organized in the film and the musical forms the original sonata. To this end, we focus on the musical dualism associated with the protagonists Balthazar and Marie and the alternation of the parts, in addition to examining aspects shared by the film and Schubert's works, such as the presence of nature and death.
cinema; music; Robert Bresson; film analysis; musical forms