In the everyday Bresson replaces the “screens” with a form. By drawing attention to itself, the everyday stylization annuls the viewer’s natural desire to participate vicariously in the action on screen. Everyday is not a case of making a viewer see life in a certain way, but rather preventing him from seeing it as he is accustomed to. The viewer desires to be “distracted” (in Bresson’s terms), and will go to great lengths to find a screen which will allow him to interpret the action in a conventional manner. The viewer does not want to confront the Wholly Other or a form which expresses it.