Robert Bresson is probably upset with the world of the late 70s. During the introduction of the group of activistic Parisian youth, which becomes Bresson's ensemble of the film, problems of the present are scattered at us with direct hits. Environmental issues such as Oil-dumping, seal-extermination, pollution, overpopulation, industrial interest in rain forest as well as the need for modernity in Christianity surrounds our band of outsiders. What frightens me is that these problems and statistics have increased muliple times since then, and left us now, with even more troubled minds. When a teenage girl inserts nude photos inside Church programs and Bible booklets in the Cathedral to provoke disgust, a teenager named Charles with mid-long dark hair, steps up to his group and tells them that this is not respectable. After the opening credits, a newspaper displays Charles' face on the cover, with the headline: "Parisian teenage committed suicide." Only to be replaced by a new coverage: "Parisian teenage murdered". I find Charles, the most interesting figure in the film, and his search for answers for his existence in a decadent world, gets more and more intense. The love of his girlfriend is not enough, stealing money is too accessible and the psychiatrist is avoiding to go deeper into his troubles, because he is above all interested in money. What are the reasons why Charles is giving up on the world? The world through his eyes seems to be both senseless and unbearable. I like how material concern, the focus on success and fame are depicted as enslavement of people, manipulating our way of living and alienating our inner selves. Bresson is very clever at following the same stream of consciousness all the way to the inevitable death of the teenager. The film feels confident as Robert Bresson's next film 'L'Argent' which follows the usage of fake money from unaware teenagers, to the hands of an axe murderer. Both film are searching for something of a soul in society. I think Bresson is less preoccupied with external threats to our existence, which is mere backdrop, than the need for spirituality in the world, which many find in religion. This seemingly hopeless search is what drives the film forward, even if we learn that all misery today can probably be blamed on the devil.