This four-minute supercut shows the tactile side of Bresson's world.
Filmmakers all have their peculiar fixations, some of which are obvious: Wes Anderson is obsessed with symmetry; David Lynch with industrial machinery; and Quentin Tarantino with cartoonish violence. And as this poignant visual essay reveals, French New Wave filmmaker Robert Bresson, who died in 1999, was particularly fond of filming hands.