7.4/10
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Private Confessions (1996)

Enskilda samtal (original title)
Five conversations frame a flawed marriage in this film written by Ingmar Bergman about his parents. Guilt-ridden wife Anna (Pernilla August) divulges an extramarital affair to a priest, ... See full summary »

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4 wins & 2 nominations. See more awards »

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Cast

Cast overview:
... Anna
... Jacob
... Henrik
... Tomas Egerman
... Karin Åkerblom
... Fröken Nylander
... Maria
... Märta Gärdsjö
... Biskop Agrell
Bengt Schött ... Vaktmästare Stille
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Storyline

Five conversations frame a flawed marriage in this film written by Ingmar Bergman about his parents. Guilt-ridden wife Anna (Pernilla August) divulges an extramarital affair to a priest, her uncle Jacob (Max von Sydow). He presses her to confess her sins to her husband, Henrik. As the film moves back and forth in time, the notion of truth is tested. Tomas, the lover, and Henrik will find that Anna's confessions do not absolve anyone, and have the power to inflict more pain. Source: Rotten Tomatoes Written by Sasa Aleksic

Plot Summary | Add Synopsis

Genres:

Biography | Drama

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Release Date:

1999 (USA)  »

Also Known As:

Private Confessions  »

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Box Office

Opening Weekend USA:

$8,759, 10 January 1999, Limited Release

Gross USA:

$8,759, 10 January 1999
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

(2 parts) | (theatrical)

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Aspect Ratio:

4:3 Letterbox
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Did You Know?

Trivia

This is the last film by Ingmar Bergman with Sven Nykvist as the cinematographer. See more »

Connections

Follows The Best Intentions (1991) See more »

Soundtracks

Jesu bleibet meine Freunde, No. 147
Music by Johann Sebastian Bach
Conducted by Christopher Hogwood
Performed by The Academy of Ancient Music
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User Reviews

Arduous tale of adultery
27 January 1999 | by See all my reviews

Despite an excellent, unaffected performance by Pernilla August, Private Confessions can't escape its melodramatic premise of adultery and redemption. Written by the King of Existentialism, the film (or shall I say mini-series) is structured along five conversations, though they do not follow any chronology, which has become a cool trick to use for many young screenwriters (fragmented chronology) but Bergman uses it as memory. The writing is as intense and honest as any other Bergman film, but without much plot, tends to be long-winded. Longtime Bergman collaborators Liv Ullman and cinematographer Sven Nyvist focus on close-ups and a stationary camera to get their message across, adding to the lack of mobility in the script. After two hours of Swedish mope (not necessarily a bad thing because where else is it more appropriate) [Sorry Martin!], the wistful ending seems forced. Great scene near the end, though, where a hymn gives way to vomiting. In conclusion, a movie for Bergman fanatics (especially since the story is autobiographical) like me and for people having affairs -- not like me.


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