In this dissertation, we analyzed the aphorisms collected in the book Notes on cinematography by film director Robert Bresson, to gain a more substantial understanding of his concept of truth. In the book, Bresson opposes his ideal of cinema as a pure art, or cinematography, to cinema contaminated by the representational esthetics of theater. The former attains truthful expression by remaining consistent with its essence, following the principles given in the aphorisms. Since these are not divided into any sections in the book, we grouped them by themes and subthemes discerned mainly through the recurrence of certain words. The dissertation focused on the following themes and their relation to truth: elliptical techniques against representation; reality and falsity; the figure of the director-artist; models and automatism; composition and editing. This analysis supported the views that link Bresson to phenomenological conceptions, given his grounding of truth in immediate, pre-reflexive perceptions. Such sensations must correspond to the essence of the perceived real object, and become untrue when cognition submits them to the linguistic system. Truth is not in propositions, but in the fleeting sensation of the perceived object amidst the unknown, which is both external to and inside the subject. The camera can make the hidden reality partly visible, capturing the glimmer of its essence. In his films, the composition presents this reality in repeated conjunctions between the unknown, in various forms of ellipses, and the intensified materiality of things.