“Okay, L'argent. Other than Pialat, the other filmmaker we talked about a lot when we were cutting Janet Planet was Bresson. I feel like Bresson was more of like an aesthetic reference for us too. I remember specifically about L'argent we were talking about depictions of offscreen violence. I always think of the end when at the farm, the old couple, when the husband slaps his wife, instead of seeing the slap he cuts away and you just see the teacup on the saucer and it just moves a little bit.”