CALIFICACIÓN DE IMDb
6.7/10
9.9 k
TU CALIFICACIÓN
Una pareja se retira a la isla que inspiró a Ingmar Bergman a escribir guiones para sus películas, pero las líneas entre la realidad y la ficción comienzan a difuminarse.Una pareja se retira a la isla que inspiró a Ingmar Bergman a escribir guiones para sus películas, pero las líneas entre la realidad y la ficción comienzan a difuminarse.Una pareja se retira a la isla que inspiró a Ingmar Bergman a escribir guiones para sus películas, pero las líneas entre la realidad y la ficción comienzan a difuminarse.
- Dirección
- Guionista
- Elenco
- Premios
- 10 nominaciones
Lily Taieb
- Tony's film
- (as Lily Taïeb)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaGreta Gerwig and John Turturro originally signed on for the two main parts, but both had to bow out before shooting began. Gerwig was replaced with Vicky Krieps, and Turturro with Owen Wilson. However, Owen Wilson later declined with mere weeks to go before shooting. Mia Hansen-Løve and her producer decided to shoot half of the movie in summer 2018 without an actor in the male lead. The second half was shot one year later, in summer 2019 with Tim Roth finally cast in the male lead.
- ErroresTo complete the parallel story structure, Chris should smoke several cigarettes during the epilogue.
- ConexionesFeatures Little Boy Blue (1936)
- Bandas sonorasGwydion's Dream
Written by Robin Williamson
Performed by Robin Williamson
© Pigs Whisker Music
Pigs Whisker Music
Opinión destacada
A profound meditation on love, artistic creation, and originality
I really enjoyed and loved this film, but I can also understand why others won't. I won't go over the synopsis because I assume most readers are already familiar with it/can easily do so. The pacing is very slow and the plot gets more convoluted as we go along, and there are many many references to Bergman, and so again, I can understand why this would be alienating and maybe even annoying to some, but these are some of the reasons why I liked this film so much. The tone and the way that every scene is directed and shot are also very different from other "serious" so-called arthouse films. The universal and perhaps timeless subject matter--love, relationships, artistic creation, loneliness (or solitude, depending), to name some--are indeed serious but are also treated in a casual, airy, even jovial manner (and not in the derogatory sense of these words), which was really refreshing and made me even reconsider my own preferences, cinematic or otherwise, and the way that I view Bergman in particular and artistic inspiration more generally. There's also a sort of dreamlike atmosphere that surrounds the film and the film within a film especially.
The first hour or so is a very careful and brilliantly written setup for the second hour in which doubles and doubling will appear - characters become narrators and also understudies for other characters, and virtually every sentence that they say can be interpreted metafictionally, as they are aware of being actors in a film (or in the film within a film, as well). It's indeed a film that interprets itself and its own mechanisms, especially its writing process, which is not new (Godard, for example), of course, but this is exactly where the director has shown originality and creativity. Hansen-Løve takes Bergman and his films (and his alter ego in the form of the beautiful, serene island of Fårö itself and also possibly her partner, another threatening male director that looms in the background or the foreground), and instead of merely referencing him for the sake of reference alone and sounding "smart", as a "formidable reference" as one character says, she plays with his myth, with his films. After all, the word "allusion" comes from the word "to play," and this is where the film really shines quite brilliantly. Ghosts become zombies in a horror film within the film, words become real, and the "power of fiction," as one character writes in their journal, dazzles. There's also an interesting discussion of human relationships, love, motherhood, what it means to love more than one person at the same time, especially when it comes from a woman. Women here as in Bergman's films are indeed the driving force both of the plot and of the actual film, dealing with the old issue of writer's block in a new perspective, truly. I think this is what originality really is now: you take an artwork or its creator which precedes you (and in film or any other medium, of course, you never operate solely on your own or in a vacuum, but are under an influence of tradition and an entire history that "haunts" you), and try to re-mold it, shape it into something new by using the same tools but in a different, singular way, using your own tone. Notice that the title of the film is "Bergman Island" and not "Bergman's Island". Bergman doesn't own the island nor can he monopolize it, as much as the industry born from his life there is very much alive. Every director, character, visitor, and film spectator shares the island and its impression via this film. I will say, though, that the ending did feel a bit rushed and maybe even underdeveloped, but it's still done masterfully, showing complete control of the medium of film.
The first hour or so is a very careful and brilliantly written setup for the second hour in which doubles and doubling will appear - characters become narrators and also understudies for other characters, and virtually every sentence that they say can be interpreted metafictionally, as they are aware of being actors in a film (or in the film within a film, as well). It's indeed a film that interprets itself and its own mechanisms, especially its writing process, which is not new (Godard, for example), of course, but this is exactly where the director has shown originality and creativity. Hansen-Løve takes Bergman and his films (and his alter ego in the form of the beautiful, serene island of Fårö itself and also possibly her partner, another threatening male director that looms in the background or the foreground), and instead of merely referencing him for the sake of reference alone and sounding "smart", as a "formidable reference" as one character says, she plays with his myth, with his films. After all, the word "allusion" comes from the word "to play," and this is where the film really shines quite brilliantly. Ghosts become zombies in a horror film within the film, words become real, and the "power of fiction," as one character writes in their journal, dazzles. There's also an interesting discussion of human relationships, love, motherhood, what it means to love more than one person at the same time, especially when it comes from a woman. Women here as in Bergman's films are indeed the driving force both of the plot and of the actual film, dealing with the old issue of writer's block in a new perspective, truly. I think this is what originality really is now: you take an artwork or its creator which precedes you (and in film or any other medium, of course, you never operate solely on your own or in a vacuum, but are under an influence of tradition and an entire history that "haunts" you), and try to re-mold it, shape it into something new by using the same tools but in a different, singular way, using your own tone. Notice that the title of the film is "Bergman Island" and not "Bergman's Island". Bergman doesn't own the island nor can he monopolize it, as much as the industry born from his life there is very much alive. Every director, character, visitor, and film spectator shares the island and its impression via this film. I will say, though, that the ending did feel a bit rushed and maybe even underdeveloped, but it's still done masterfully, showing complete control of the medium of film.
útil•199
- nitzanfamilia
- 12 nov 2021
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Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idiomas
- También se conoce como
- Bergman Island
- Locaciones de filmación
- Fårö, Gotlands län, Suecia(aka Fårö Island)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- EUR 6,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 145,191
- Fin de semana de estreno en EE. UU. y Canadá
- USD 55,964
- 17 oct 2021
- Total a nivel mundial
- USD 1,005,843
- Tiempo de ejecución1 hora 52 minutos
- Color
- Relación de aspecto
- 2.39 : 1
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