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Heavy on folk belief, it flirts with Bresson’s “Diary of a Country Priest” and the divine madness the Greeks called theia mania.

Robert Bresson ended his career in his 80s with two of his most fevered and angry works, “The Devil Probably” and “L’’Argent.”

Like Bresson, Jackson uses hands to remind us that our identities consist of more than faces and names, that a touch or a gesture can be equally expressive of who we are.

Its adventurousness owes something to French cinema, from Jacques Rivette and Jean-Luc Godard to, most explicitly, Robert Bresson, whose “L’Argent,” a much darker drama of crime and punishment, figures into the story at one key juncture.

The title of “A Woman Escapes” references Robert Bresson’s 1956 classic “A Man Escaped” about a French Resistance fighter in a Nazi prison in Lyon.