Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are ... See full summary »
19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a... See full summary »
Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
This tale centers around the love between Baptiste, a theater mime, and Claire Reine, an actress and otherwise woman-about-town who calls herself Garance. Garance, in turn, is loved by ... See full summary »
When Juliette marries Jean, she comes to live on his ship, on board of which are, besides the two of them, only a cabin boy and the strange old second mate Pere Jules. Soon bored by life on... See full summary »
In turn-of-the-century Sweden, cancer-stricken, dying Agnes is visited in her isolated rural mansion by her sisters Karin and Maria. As Agnes' condition deteriorates and pain management becomes increasingly more difficult, fear and revulsion grip the sisters, who seem incapable of empathy, and Agnes' only comfort and solace comes from her maid Anna. As the end draws closer, long repressed feelings of grudging resentment and mistrust cause jealousy, selfishness, and bitterness between the siblings to surface. Written by
Gabe Taverney (firstname.lastname@example.org)
Bergman, who produced the film with his own money, could not find an American distributor as they felt it was too uncommercial. Roger Corman, who had just left American-International Pictures to set up his own New World releasing company, was in the market for a prestige picture to give his new operation some class. See more »
You've changed. Is there someone else?
There always is. Besides, I thought the problem didn't interest you.
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Death is one of those things that no one really likes to talk about. When a family member or loved one is terminally ill, the lives of all that surround the individual change, sometimes forever.
This film deals with a terminally ill woman, her devoted servant, and the woman's two sisters, brought together by the tragedy. As the women live through the last days of their dying sister, the superficial layers of each begin to disintegrate, and we eventually see the very core of their being --and it isn't always pretty.
Also not pretty are the deathbed scenes. I found them harrowing, painful and frighteningly realistic. No one at the bedside had any sense of the purpose of so much pain -- not even the priest.
Bergman uses silence like other directors use explosions. The ticking and chiming of the clock are almost startling as time drags on and on. Everyone waits for the inevitable, and the inevitable takes it time.
The cinematography is extraordinary, as is the use of color. Red is used to an almost overwhelming degree, but also used to perfection. When I think of red, several ideas or images come to mind, such as blood, passion, and heat. Each of these are presented in various degrees in this film.
The redeeming figure in this film is the servant. Her love for the dying woman is completely unconditional and selfless. It was for her grief that I wept.
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