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12.234 Valutazioni

Il posto delle fragole


Diretto da Ingmar Bergman
Svezia, 1957
Drammatico, Sentimentale


Attraverso flashback e sequenze oniriche, un professore compie un viaggio introspettivo e rivelatore durante il quale riflette sui successi e fallimenti del proprio passato mentre si riappacifica con la morte imminente. Il film con cui Bergman si è imposto sulla scena internazionale.

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Il posto delle fragole Diretto da Ingmar Bergman

Premi e Festival

Venice Film Festival

1958 | 2 premi, tra cui: Italian Film Critics Award

Berlin International Film Festival

1958 | 3 premi, tra cui: FIPRESCI Prize

Academy Awards

1960 | Candidato: Best Writing, Story and Screenplay - Written Directly for the Screen

National Board of Review

1959 | 3 premi, tra cui: Best Actor

Balanced admirably between representations of both the bleak realities as well as the unexpected joys of living, what Bergman gives us in WILD STRAWBERRIES is an unforgettable lesson that life—even when you don’t deserve it—hands you little gifts of camaraderie and friendship, little windows of opportunity for connection, reminders of all the ways that life and cinema can be beautiful.
July 05, 2018
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Bergman is actively wrestling with his torments and desires; he isn’t working toward a preconceived conclusion. Wild Strawberries’s supporting characters aren’t chided as impulsive bubble-heads readymade for Borg’s scorn, as Bergman dramatizes, with aching precision, the forcefully erotic beauty of life that Borg is missing due to what’s essentially buried self-loathing. One of the reasons Bergman was such an art-house juggernaut was simple: He made suffering sexy.
June 09, 2013
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The rancor of old age is its own purgatory, geriatric thawing is a crisscrossing spectacle, a constellation dilated by Resnais in Providence. Scolded in merciless dreams and awarded in pompous ceremonies, the chastened curmudgeon has at long last the reward of a smiling flirtation and a peaceful night’s sleep. “A nice and relaxing drive, wasn’t it?” Sjöström’s sublimely creased face in serene close-up comprises the concluding oasis, Bergman contemplates the miracle in awe and envy.
January 01, 2010
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