Legendary director Ingmar Bergman creates a testament to the strength of the soul—and a film of absolute power. Karin and Maria come to the aid of their dying sister, Agnes, but jealousy, manipulation, and selfishness come before empathy. Agnes, tortured by cancer, transcends the pettiness of her sisters’ concerns to remember moments of being—moments that Bergman, with the help of Academy Award–winning cinematographer Sven Nykvist, translates into pictures of staggering beauty and unfathomable horror. —The Criterion Collection
The most famed and honored filmmaker ever to emerge from the nation of Sweden – and regarded by many as one of the three or four most brilliant directors of the 20th century – Ingmar Bergman radically altered the nature and meaning of the motion-picture form, transfiguring a medium long devoted to spectacle into an art capable of profoundly personal meditations into the myriad struggles facing the psyche and the soul. By focusing on the exploration of self with unparalleled intensity, Bergman brought to the screen a new sense of emotional intimacy, fusing the concepts behind Freudian psychotherapy with a dreamlike sensibility founded on visual metaphors, flashbacks, and extreme close-ups to create a revelatory cinematic world unlike any before it.
Born Ernst Ingmar Bergman on July 14, 1918, in Uppsala, Sweden, he followed a brief 1938 military stay by attending Stockholm University. While there, he staged his first plays, among them adaptations of Macbeth, August Strindberg’s… read more
My first color Bergman. And what color! Overall maybe not as good as others of his I've seen, but still remarkable, mysterious, shocking, probing, poetic, and everything else you'd expect from the man. I've yet to see a Bergman film I didn't like.
Arte pura.Forse nessuno nella storia del cinema è riuscito a scandagliare le profondità dell animo umano come Bergman e,cosa ancora più difficile,quelle dell animo femminile.Quì il dolore(espresso con un rosso maestoso) è il vero protagonista e pervade tutto il film come una lama tagliente.La regia è quasi invisibile e per questo meravigliosa,la scena del volto allo specchio è una della più belle che abbia mai visto.
A collection of movie posters that ignore the golden rule of movie posters.
A look at the subtle and multilayered use of color in The Passion of Anna (1969).
“Now, for a few minutes, I can experience perfection.”
91 minutes to be exact. If Cries and Whispers is not a perfect film, I do not know what is and what will be.
Cries and Whispers… read review