During civil war, two musicians retreat to a rural island to farm. They are apolitical; a neighbor sometimes gives them a fish; wine is a luxury. They love each other, but there are problems: the war upsets Jan, he is weepy, too sensitive; Eva wants children, he does not. The war suddenly arrives: rebels attack, neighbors die. When the other side restores order, Jan and Eva are arrested as collaborators. After frightening and roughing them up, the local colonel releases them; then he begins appearing at their farmhouse: to talk or to pursue Eva? He gives her money. The rebels return; chaos ensues. Jan becomes violent and murderous; they flee. Can they escape? If so, to what ? —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
Ingmar Bergman Makes a War Movie. The pairing of Ullman and Sydow shows resilience in this emotive study on the human psyche during war, as seen through the deterioration of their relationship under such callous strain and duress: her assertiveness against his passivity; domestic conflict against intrastate conflict, and a wider deterioration of humanity - any prior warmth replaced by cold, numb confusion and destructiveness. The stark, inconclusive finale professes dim hope.
"Liv Ullmann wasn't Ingmar Bergman's muse, she was his partner in angst - a fellow weary existential traveler conspiring with him to invent
Ingmar Bergman’s 1968 postmodernist work, Shame, is a film that looks at war in a very unique, innovational manner. Made during the period of America’s involvement in Vietnam and Bergman being… read review