Newsweek by David Ansen

Constructing a work of implacably interlocking images, the 76-year-old director -- as clear-eyed, still and attentive as a beast of the forest observing human folly -- has produced an Olympian protest against the modern world. Yet his lucid mastery produces not despair, but an odd exhilaration. [16 April 1984, p.93]

Christian Science Monitor by David Sterritt

Every shot plays a part in the director's underlying scheme - to probe the actual and symbolic roles of money in society, and grander yet, to explore the relationship between matters of the flesh and the human spirit, as manifested by the struggle between aspiration and corruption. [22 March 1984, p.21]

Slant Magazine by Eric Henderson

Robert Bresson's film hits with the effect not so much reflecting a cleansing of the soul, but rather a ransacking.

The New York Times by Vincent Canby

It goes beyond the impartiality of journalism. It has the manner of an official report on the spiritual state of a civilization for which there is no hope.

The Globe and Mail (Toronto)

There is no psychology in L'Argent, no acting to speak of; every scene is a minimal sketch which drives the didactic story forward. This use of narrative may sound ordinary, but, in Robert Bresson's pure filmmaking, it becomes extraordinarily relentless. [20 July 1984]

The Globe and Mail (Toronto) by Carole Corbeil

There is no psychology in L'Argent, no acting to speak of; every scene is a minimal sketch which drives the didactic story forward. This use of narrative may sound ordinary, but, in Robert Bresson's pure filmmaking, it becomes extraordinarily relentless. [20 July 1984]

Empire by David Parkinson

Compelling morality tale that works on multiple layers.