Marianne and Johan meet again after thirty years without contact, when Marianne suddenly feels a need to see her ex-husband again. She decides to visit Johan at his old summer house in the western province of Dalarna. And so, one beautiful autumn day, there she is, beside his reclining chair, waking him with a light kiss. Staying at a cottage on the property are Johan’s son Henrik and Henrik’s daughter Karin. Henrik is giving his daughter cello lessons and already sees her future as staked out. Relations between father and son are very strained, but both are protective of Karin. They are all still mourning Anna, Henrik’s much-loved wife, who died two years ago, yet who, in many ways, remains present among them. Marianne soon realizes that things are not all as they should be, and she finds herself unwillingly drawn into a complicated and upsetting power struggle. —IMDb
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
this is one of the most touching films directed by bergman, it's the terminus of everything that Bergman idealized when began working as a director. Every scene seems to travel between the Bergman we know, since crisis to saraband, every little thing is in this film and it's the best tribute bergman could do to imself!
Liv Ullmann and Erland Josephson have flawless characters. Through his camera, Bergman captured Man's soul and it's really fantastic how he turned a simple meet into an unpleasant journey through life. Bergman ends his career as he began with a small movie, but with genuine humanism!
Scenes from a Marriage 2: On Golden Pond. But it’s not really, as it feels closer to Hour of the Wolf in its domesticated atmosphere over argument, or at least, reflection over rhetoric, while also revealing the pain of broken relationships, and with its cinematic foreplay (docudrama fourth wall, etc) in grappling with the ghosts of the past - as well as Fanny och Alexander as culmination of themes, motifs. Softer, if still troubled, emotive in broaching senility, and the wrinkles may show, but a love remains, both in front and behind the camera.