“I enjoyed our inequality”. Bresson moves back to the city, back to the stairwell of Pickpocket, to tell a more intimate and ultimately cynical tale than either of his previous country films (not that Balthazar or Mouchette could be called cynical, but they are certainly bleak) in his first color film. We begin with a slow-mo (Bresson’s first use?) shot of a falling white shawl, decelerating the momentum of the plot, so that we will be able to dig into…