From the Life of the Marionettes

apexa

One of the darkest films I've ever seen, let alone one of the darkest Bergman films I've ever seen. I think the urban and non-Scandinavian setting added to the dark atmosphere. A real highlight in his filmography that is underrated.

InsertOzuReferencehere

I was very suprised after watching this, I genuinely think this is one of Bergmans best. It reminded me how Bergman can dig so deep into the complexities of the human psyche (and interactions with others) whilst making it seem so simple. An example of Bergman producing something that is out of reach for most filmmakers and making it look so damn easy.

Wee Hunk

Everybody here is thinking way too much. They talk themselves into holes from which there is no escape. It's as if this couple has been married 100 years and the level of contempt they have for each other is frightening.

Ethan

The spiritual sequel to Scenes from a Marriage is a very interesting and intimate portrait of a crumbling marriage.

V.S. Luoma-aho

The indulgent & psychosexual Bergmanian monologue. Nothing in life, of course, is as "deep" or layered. For some reason or another Bergman's couples remind me of my youth. Maybe because I watched his movies so much then. Maybe because I was so anxious & depressed. I don't think love is as convoluted, not anymore. Maybe there is only contentment. Love like this is a fiction, angst, reaction against capitalism.

mubianer

35mm. I had to remind myself several times while watching this that it was not a Fassbinder film. Not only the German language, but the prostitute, the gay character (I was, maybe without a good reason, surprised to see a gay man in a Bergman film), the mirror sequence and the cold West-German atmosphere. 3.5

María F. Guerrero

This was so, but so good. You know, that first scene with the murder. Damn. And the super deep study of the psyche, the disturbing talk about his homicidal dreams, the people who surround him and just everything, man.

Nuno Barros

Em From the Life of the Marionettes, dominam as pulsões psíquicas mais essenciais, Eros e Thanatos, e o modo como estas forças da criação e do caos convivem para além da moral. Bergman expõe o casamento como o lugar da verdade, onde, dominados até à demência, nos tornamos marionetas dos nossos desejos e medos. Excelentes interpretações e uma das melhores cenas de toda a filmografia de Bergman: o sonho de Peter.