All three documentaries were mainly shot in the home of Ingmar Bergman. This was the first time ever that a filmmaker had access to Ingmar Bergman in his home at the small island Fårö in ... See full summary »
A Swedish housewife begins an adulterous affair with a foreign archaeologist. But he is an emotionally scarred man, a Jewish survivor from a concentration camp, consequently, their relationship will be painfully difficult.
Max von Sydow
Berlin, 1923. Following the suicide of his brother, American circus acrobat Abel Rosenberg attempts to survive while facing unemployment, depression, alcoholism and the social decay of Germany during the Weimar Republic.
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan's son from another marriage and his granddaughter.
Three women in a maternity ward reveal their lives and intimate thoughts to each other while in a maternity ward together, where they face the choice of keeping their babies or offering them for adoption.
Journeying through 1957, the year Bergman released two of his most acclaimed features (The Seventh Seal and Wild Strawberries), made a TV film and directed four plays for theatre, Magnusson... See full summary »
Voice for Ingmar Bergman:
I love you in my imperfect, selfish way. And sometimes I think you love me in your own fussy, pestering way. I think we love each other in an earthly and imperfect way.
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Loved this film this evening at Vancouver International Film Festival, while my partner says it's okay, he wouldn't mind if he hadn't seen it. What planet are (emotionally repressed) men from? Please don't say Mars— Martians would be more moved than he was by this gem of a documentary.
A different film than I was expecting: I didn't know anything about Ullman and Bergman's personal past, and was expecting something more focused on their long (almost 50 years) of collaboration in making extraordinary films. This was only partly about their shared film history together and dwelt more on their relationship, the account rendered extraordinary by Ullman's candour and towering spirit. I would look for more films from this director, though, without another such woman of character, as comfortable before the camera as Ullman, could such touching and real stuff be served up? But the film's capture has warmth and sparkle, like that old song that asks if we want to carry moonbeams home in a jar—an apt metaphor, I think, for the trick which the most artful films pull off.
Just as Bergman has bewitched and bedevilled us with his films, one's jaw drops hearing what he was like as a lover and husband in her words—both dreadful and also Ullman's gloriously prized treasure of a human connection, delivered to us in lovely to watch and listen to footage. Bravo.
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