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Autumn Sonata
1978
Winter Light
1963
Through a Glass Darkly
1961
Fanny and Alexander
1982
The Virgin Spring
1960
The Silence
1963
Shame
1968
Wild Strawberries
1957
Persona
1966
Hour of the Wolf
1968
Scenes from a Marriage
1974
The Passion of Anna
1969
Breaking the Silence: Truth and Lies in the War on Terror
2003
Autumn Sonata(Movie)Winter Light(Movie)Through a Glass Darkly(Movie)Fanny and Alexander(Movie)The Virgin Spring(Movie)The Silence(Movie)Shame(Movie)Wild Strawberries(Movie)Persona(Movie)Hour of the Wolf(Movie)Scenes from a Marriage(Movie)The Passion of Anna(Movie)Breaking the Silence: Truth and Lies in the War on Terror(Movie)
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CRIES AND WHISPERS depicts the tale of two sisters, who after spending years apart, reunite at their childhood home, where their sisters health is diminishing every second.
The two visiting sisters have a troublesome past and find it extremely difficult to communicate with each other.
A lack of empathy from the two leaves the slowly and painfully dying sisters maid, Anna, to be her only carer during her final hours.
The film identifies grief, paranoia, mistrust, depression and fear.
CRIES AND WHISPERS is a perfect depiction of the horror behind life and its meaning.
This is easily one of... read
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Cries and Whispers
By Peter Cowie
ESSAYS — JUN 18, 2001
In his book Images, Ingmar Bergman has written: “All my films can be thought of in terms of black and white, except for Cries and Whispers. In the screenplay, it says that red represents for me the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke—a huge winged creature, half bird, half fish. But inside the dragon, everything was red.”
Certainly Cries and Whispers marks the most sophisticated use of color in Bergmans long career. It was only in 1963 that he... read
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由家庭矛盾引出对基督教信仰的重构,病魔缠身的艾格尼丝正如被捆上十字架的耶稣,耶稣的殉难是为了让信徒重新团结,而艾格尼丝的殉难则是为了填补自己的“信徒”的情感缺失,安娜对艾格尼丝做哺乳之态可以被理解为作为一个普通母亲的安娜充当圣母玛利亚的身份,也可以理解为安娜作为“信徒”被耶稣救赎,填补丧女之痛,而在安娜的哺乳中和对母亲的凝视和触摸,艾格尼丝心中母亲神秘庄严的形象转变成一个和蔼可亲而又无助的形象,而一个傲强如火的卡琳,一个圆滑如水的玛利亚,前者一味想吞噬不让步且不愿被完全暴露,后者一味往低处流并用大地的庄严粉饰自己,这相互矛盾的性格就连“耶稣的复活”也无法被救赎,无法达到一个平衡的位置,由此可见伯格曼此时的宗教观,即救赎是相互的但无法改变和调和人性。结局是耶稣的乌托邦,也是信徒的精神洗礼。... read
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