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Trolösa
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Faithless (2000) More at IMDbPro »Trolösa (original title)

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Faithless -- An imaginary woman recollects the painful experience of adultery to a storyteller.

Overview

User Rating:
7.5/10   2,532 votes »
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View company contact information for Faithless on IMDbPro.
Release Date:
15 September 2000 (Norway) See more »
Genre:
Plot:
An imaginary woman recollects the painful experience of adultery to a storyteller. Full summary » | Add synopsis »
Awards:
6 wins & 9 nominations See more »
User Reviews:
Look! An intelligent film about, get this, PEOPLE! See more (24 total) »

Cast

  (in credits order)

Lena Endre ... Marianne

Erland Josephson ... Bergman

Krister Henriksson ... David
Thomas Hanzon ... Markus
Michelle Gylemo ... Isabelle
Juni Dahr ... Margareta
Philip Zandén ... Martin Goldman
Thérèse Brunnander ... Petra Holst (as Therese Brunnander)
Marie Richardson ... Anna Berg
Stina Ekblad ... Eva
Johan Rabaeus ... Johan
Jan-Olof Strandberg ... Axel
Björn Granath ... Gustav
Gertrud Stenung ... Martha
rest of cast listed alphabetically:
Åsa Lindström ... Prompter 2

Tomas Glaving ... The student (uncredited)
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Directed by
Liv Ullmann 
 
Writing credits
(in alphabetical order)
Ingmar Bergman 

Produced by
Maria Curman .... executive producer
Kaj Larsen .... producer
Johan Mardell .... producer
 
Cinematography by
Jörgen Persson 
 
Film Editing by
Sylvia Ingemarsson 
 
Casting by
Maria Kiisk 
 
Art Direction by
Göran Wassberg 
 
Costume Design by
Inger Pehrsson  (as Inger Elvira Pehrsson)
 
Makeup Department
Cecilia Drott .... makeup artist (as Cecilia Drott-Norlen)
Elisabeth Ekman .... makeup artist
 
Production Management
Jacques Foussat .... production manager: Paris
Elisabeth Liljeqvist .... production manager
 
Second Unit Director or Assistant Director
Gunnlaugur Jónasson .... assistant director
Roland Lindmark .... assistant director
 
Art Department
Jan Eriksson .... carpenter
Per Eriksson .... assistant property master
Teddy Holm .... painter
Per Johansson .... painter
Lars-Göran Kask .... carpenter
Jerker Malmsten .... carpenter
Love Malmsten .... construction coordinator
Anders Olin .... carpenter
Åsa Persson .... assistant art director
Rasmus Rasmusson .... set dresser
Jan-Erik Savela .... property master
 
Sound Department
Per Boström .... sound
Nadja Glans .... film sound synchronisation
Tomas Krantz .... sound editor
Gunnar Landström .... sound
Christer Melén .... sound
Ulf Olausson .... foley artist
Gábor Pasztor .... sound mixer
Bo Persson .... sound editor
Bengt Wallman .... sound
Mark Kenna .... consultant: Dolby film sound (uncredited)
 
Camera and Electrical Department
Tommi Andersson .... electrician
Arne Carlsson .... assistant camera: second unit
Lars Gustafson .... second assistant camera
Adrian Harkins-Wester .... grip
Bengt-Inge Hertzman .... electrician
Sten Lindberg .... lighting technician
Carl Persson .... first assistant camera
Joakim Strömholm .... still photographer
Lars Stålberg .... electrician
Mike Tiverios .... Steadicam operator
 
Costume and Wardrobe Department
Inger Eiserwall .... assistant costumer
 
Editorial Department
Susanne Lund .... negative cutter
Ise Wentzel .... assistant editor
 
Other crew
Karin Brodahl-Persson .... production accountant
Lotta Gummesson .... script supervisor
Roland Lindmark .... location manager
Anneli Oscarsson .... assistant location manager
 

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Additional Details

Also Known As:
"Trolösa" - Sweden (original title)
See more »
MPAA:
Rated R for sexual content, some nudity and language
Runtime:
Argentina:152 min | Colombia:154 min | Denmark:155 min | Peru:152 min | UK:154 min | USA:142 min
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Company:

Did You Know?

Soundtrack:
Quartet for piano and string trio, Opus 60See more »

FAQ

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21 out of 26 people found the following review useful.
Look! An intelligent film about, get this, PEOPLE!, 15 March 2001
Author: Alice Liddel (-darragh@excite.com) from dublin, ireland

'Faithless', as a film experience, is both novel and old-fashioned. Novel, because films like this simply aren't being made today, films that take the length of an expensive historical epic to concentrate on the characters, emotions, words, experiences and largely interior milieux of a handful of people; people who are not grim, sword-wielding Romans or suave cannibals, just fundamentally decent, cultured people capable of horrendous acts for love, in a low-key, familiar, plausible, yet devastating way. It is a film that knows its audience will accept 2 1/2 hours devoted largely to talk and relationships; where anything sensational, like rape, suicide or murder, is kept off-screen.

'Faithless' is, however, curiously old-fashioned. This kind of film used to be a fairly regular staple of art-house production in the 1960s and 70s, the heyday of its screenwriter, Ingmar Bergman. A time when an audience with this level of patience and willingness to involve themselves in constructing the film's meaning was quite large and influential. Where carefully realised characters, places and dialogue were important; where subjects like marriage, divorce, grief, death, betrayal were explored in complex, understanding ways that never cheated on them for the sake of a quick ending.

Such a throwback is shocking. Even the arthouse alternatives of today have largely forsaken this mode of filmmaking for fear of being labelled unwieldly or -horrors - pretentious. it is not only pre-'STar Wars', but almost pre-post-modern; irony here is a creative tool, not a cop-out attitude. I'm not suggesting that films which privilege character and dialogue over plot and action are inherently superior, but it's nice to see one once in a while.

I know they're a hard sell. I desperately want you to see this film, but I can't promise that you'll be entertained or amused. We are asked to watch, for 154 minutes, the relentless dissolution of a marriage and the adulterous relationship; we are asked to watch characters analyse, torture themselves, seek emotional exits through self-pity and histrionics. We are asked to watch the effect of all this on a young child. We have to watch this path lead to some truly shocking climaxes. Even 'lollipops', such as the pleasure of the affair, the Parisian interlude etc., are soured by our foreknowledge of the events and their general outcome, if not details. There is no Hollywood softening through swelling music or redemptive epiphanies. The film's austerity, autumnal/wintry tone and self-reflexive formal apparatus reminds me of a late Beckett play, like'Ohio Impromptu' or 'That Time'. An old artist (in this case a filmmaker), emotionally paralysed for decades having taken the wrong decisions in a relationship through a monstrous pride and egotism, tries to unravel the processes that led him to his current shellshocked state.

The long, painful move towards understanding involves tortuous conservations with ghosts, memories, past selves, all filtered through, and thus compromised by his own subjective ego, his need to explain and expiate. The film we watch is also about the creation of the film we're watching. Self-reflexivity intrudes throughout - the film projector through the window behind Bergman; the characters all in the arts; the theatre settings; the allusions to Bergman's past works; the motif of the 'Magic Flute' magic box etc. - all emphasising the way characters perform and ritualise their genuine feelings; asking us how we interpret testimonies that are, in any case, the wranglings of a guilty man's head.

The film is such a bracing reminder of what cinema used to do, you're prepared to forgive its faults - the neatness of the plot, especially, tending predictably towards a harrowing, yet cathartic, revelation. Like Francois Ozon's brilliant Fassbinder adaptation 'Water Falling on Burning Rocks', Ullman's Bergman pastiche cannot fully replicate the power of the original; audiences couldn't handle it, we've been intellectually softened. The climax is harrowing, but contained - think of the true horrors of a film like 'Cries and Whispers'. Bergman would never let us, or the character Bergman, off so easily.

But this is Ullmann's picture, and the way she films a scene like Marianne's revelation about her nocturnal plea-bargaining with her husband, or the earlier, squirmingly comic scene where he discovers the lovers in flagranto delicto, have an empathetic, non-exploitative tact that may have been beyond her master.

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