Made during Bergman's tax-related exile in Germany, the film continues the story of Katarina and Peter EGermann, the feuding, childless, professional couple who appear in one episode of "...
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Rational, exacting, and self-controlled theater director, Henrik Vogler, often stays after rehearsal to think and plan. On this day, Anna comes back, ostensibly looking for a bracelet. She ... See full summary »
A judge in an unnamed country interviews three actors, together and singly, provoking them while investigating a pornographic performance for which they may face a fine. Their relationships... See full summary »
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Max von Sydow
The Queen of the Night offers her daughter Pamina to Tamino, but he has to bring her back from her father and priest Sarastro. She gives a magic flute to Tamino and magic bells to the bird ... See full summary »
A sensitive exploration of the tragic irony of the psychiatrist suffering with mental illness. Dr. Jenny Isaksson is a psychiatrist married to another psychiatrist; both are successful in ... See full summary »
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan's son from another marriage and his granddaughter.
Made during Bergman's tax-related exile in Germany, the film continues the story of Katarina and Peter EGermann, the feuding, childless, professional couple who appear in one episode of "Scenes From A Marriage." After Peter perpetrates a horrendous crime in its first scene, the rest of the film consists of a non-linear examination of his motivations, incorporating a police psychological investigation, scenes from the EGermanns' married life, and dream sequences. Written by
Owen F. Lipsett <firstname.lastname@example.org>
Inspired by the film project "Love without lovers" Bergman tried to realize for many years. With the story of Peter and Katarina in the center, it instead became a piece of television drama. See more »
I dreamt that I awoke from deepest slumber. I lay on the floor that was as soft as a thick carpet. I felt warm and content. Katarina lay beside me motionless, sleeping. I knew immediately that it was all a dream. I told myself I shouldn't be afraid and that the only danger was fear itself to be panic-striken and try to escape, to weep or scream or strike at the walls. I decided to stay calm. Katarina woke up slowly. I tried to speak to her, but couldn't reach her. She acted as though I wasn't ...
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Bergman's working with a very restricted palette here, as he did with The Rite or Winter Light. The romantic, funny touches you expect from him are missing. Peter's mind is crumbling; he's a modern Othello obsessed with his wife's fidelity amid the tasteful furniture of their elegant home. All the action is seen through the distorting lens of Peter's madness. Why would his wife say, in front of strangers, that she has to get drunk to steady her nerves at her mother-in-law's place? This is the disturbed mind at work.
The acting is fine. Robert Atzorn and Walter Schmidinger do very well as, essentially, two sides of the same coin (the stodgy businessman and the gay fashion designer). Christina Buchegger is wonderful as Katharina, the wife; her attempts to win out over Peter's psychosis give the film what drama it has.
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