This tale of an icy concert pianist who visits her two neglected, adult daughters over the course of an emotionally tense day marks the only collaboration between cinema’s two great Bergmans: director Ingmar and actress Ingrid.
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Tight chamber piece but not claustrophobic as it pulls focus through light and shade in a broken mother-daughter relationship. Uniformly splendid in performance and technical craft and perhaps a more benign tearing of the human flesh from this Director.
I loved Bergman when I was young, then I thought I was too sophisticated for Bergman (or something), and finally life brought me back to Bergman on my knees. There is no science of hurt. There is no anatomy of hurt. Hurt is a wild field of flames. Autumn Sonata is devastating on the one hand, elevating on the other. This thing is practically a deliriant.
Top tier Bergman. I was lucky enough to see this on the big screen for the first time last night, and the raw emotional power of the performances and close-ups is truly magnified in that venue. Two absolutely titanic performances make this tale of mother-daughter relationships one of the most consistently engaging films Bergman ever made.
One of Bergman's strongest films. Continuing a trend of mixing theater and cinema, it does not deal with theater directly, but its staging repeatedly reminds us of it, specially in this chamber drama genre. Ullmann and Bergman are intense and haunting. The story, while mostly bitter, is ultimately satisfying, and the film gives off that magic Nordic feel that defines Bergman, while maintaining a harsh realism.
Bergman consegue ser maravilhoso até nas histórias mais simples. Claro que Sonata de Outono não tem a complexidade filosófica de Sétimo Selo, Persona ou A Hora do Lobo. Mas o drama é de uma beleza tão tocante. As relações entres pais e filhos sempre mexem comigo. Eu me senti em uma terapia ao assistir Sonata de Outono, e a Liv Ullmann, meu deus, nunca erra! Todos os atores são impecáveis.
At first you feel the wind pick up, you feel a certain moistness in the air, and while you suspect something, you can't quite predict what's in store. Then the clouds thunder, the wind roars, & before you know it you're caught in a storm. Afterward, you try to pick up the pieces but you're unsure if life will ever be the same. Finally you look up & you see a rainbow in the sky. You smile. There's always another day.
hormonal drearsville. this is probably (ingmar) bergman at his most facile - didactic, overly theatrical, working from a script that manages to simultaneously be drenched in angst and devoid of any finer subtext.