‘The Card Counter’: Paul Schrader Continues His Bressonian Obsession [Op-ed]

Paul Schrader was heavily inspired by Robert Bresson’s “The Diary of a Country Priest” for his 2018 magnum opus “First Reformed.” In “The Card Counter,” Schrader again goes all in with Bresson, even recycling a couple of scenes from his own “American Gigolo” (which was partly inspired by Bresson’s “Pickpocket”) for another minimalist character study about redemption.

You see where I’m getting at here?

With “First Reformed” and “The Card Counter,” Schrader may very well be building up a Bressonian trilogy (his next film still hasn’t been announced, but I bet it’ll again find inspiration in the legendary French director ).

Oscar Isaac, as always, nails the role of William Tell, a gambler and former serviceman who sets out to reform a young man (Tye Sheridan) seeking revenge on a mutual enemy from their past. Much like most of Bresson’s lead characters, Tell is a simple man with a wounded psyche seeking redemption. He just wants to play cards, but eventually gets in over his head with his own set of moral dilemmas.

The trailer for “The Card Counter” is misleading. This is not really a movie about poker, it’s all about redemption.

Just like Ethan Hawke’s Father Toller in “First Reformed,” Tell sits at a desk, drinks whiskey, and writes in a journal — his penned words narrate the story. Schrader aims for the same morose vibe as in ‘Reformed,’ and the ending, more or less, aims for the same bittersweet spiritual uplift as in that movie.

I really don’t want to weigh in too much on this one since there is an embargo that won’t lift until its Venice Film Festival premiere on September 3rd, but this is very much a companion piece to “First Reformed,” a smart disciplined film by a seasoned filmmaker who wants to pay tribute to one of the medium’s great directors.