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12.07.-12.08.2018 Retrospektive INGMAR BERGMAN 100
Mo, 16.07. 19:00
Ingmar Bergman 100: Stargast Liv Ullmann live!
zwischen Liv Ullmann und Margarethe von Trotta: „Auf der Suche nach
Ingmar Bergman“ (auf Englisch) – Eintritt: 15 Euro
Keine Reservierung möglich TICKETS-ONLINE
Wir freuen uns riesig, dass wir dank der Schwedischen Botschaft die
Schauspielerin Liv Ullmann als unseren Stargast von „Ingmar Bergman 100“
am 16.07. 19:00 begrüßen können! Seien Sie dabei und sichern Sie sich ab
sofort die Tickets für das einmalige Gespräch zwischen der Regisseurin
Margarete von Trotta und Liv Ullmann. Ein Treffen der Gigantinnen!
Mo, 16.7. 21:30 Auf der Suche nach Ingmar Bergman
2018, R: Margarethe von Trotta, Felix Moeller, 97 Min, OmeU
Anwesenheit des Regisseur!
12.07.-12.08. Retrospektive INGMAR BERGMAN 100
Der Hundertjährige, der nicht verschwand
legendäre schwedische Filmregisseur glaubte nicht, dass mit seinem
physischen Tod auch seine Existenz zu Ende sein würde. In einer „anderen
Dimension“ werde er weiterleben, hat er in seinen Memoiren Laterna
Magica geschrieben.“ (Katharina Schmidt-Hirschfelder, Jüdische
Das BABYLON feiert eine riesige Geburtstags-Retrospektive in Kooperation mit der Schwedischen Botschaft, Berlin, unterstützt von der Ingmar-Bergman-Stiftung, Stockholm, dem Hotel Bristol und der neu gegründeten Hommage Berlin e.V.:
„INGMAR BERGMAN 100“ findet vom 12. Juli bis 12. August mit über 60 Filmen und zahlreichen Live-Veranstaltungen und Gesprächen über den wichtigsten Filmemacher aller Zeiten.
Er ist Schwede. Er ist ein Bestseller. Er steigt aus den Fenstern der Smartphones und Monitore. Anlässlich seines 100. Geburtstags am 14. Juli sind seine Filme jetzt auf der Leinwand zu sehen. In den drei Sälen des BABYLON, einen Sommer lang. Die Rede ist von: Ingmar Bergman (14.7.1918-30.7.2007).
Bevor sein internationaler Ruhm beginnt, kennt man ihn nur in Schweden, findet seine Themen „gymnasial“ und nennt seine Filme „Papas Kino“. Was allerdings nicht verhindert, dass sie enormen Wirbel machen. Denn hier rebellieren junge Paare gegen eine verzopfte Moral und reißen von zu Hause aus, um auf den Inseln der Stockholmer Schären unbeschwert verliebt zu sein. Für seinen zehnten Film, Das Lächeln einer Sommernacht, die hintersinnig kluge Liebesintrige einer fahrenden Schauspielerin, verleiht ihm die Jury in Cannes 1956 einen Spezialpreis: den Prix de l‘Humour Poétique.
Von nun an kann Ingmar Bergman drehen, was ihm vorschwebt. Kompromisslos. Und das tut er. In Das siebente Siegel spielt ein Ritter (Max von Sydow) an einer steinigen Küste im Norden Schach mit dem Tod (Bengt Ekerot). In Persona verschmilzt das Gesicht einer Schauspielerin, die auf der Bühne verstummt und kein Wort mehr sagen will (Liv Ullmann), mit demjenigen einer Krankenschwester, die sich um Kopf und Kragen redet (Bibi Andersson). In Schreie und Flüstern nimmt eine Dienerin (Kari Sylwan) den toten Körper ihrer Herrin (Harriet Andersson) auf den Schoß, um ihn zu wärmen, eine Pietà - womit nur einige Bilder genannt sind, die sich für immer in das kollektive Gedächtnis der Kinos eingebrannt haben. Ebenso wie einige Fernsehproduktionen, etwa die fulminanten Szenen einer Ehe, der wohl bekannteste Bergman-Film, und Wolfgang Amadeus Mozarts Zauberflöte (auf schwedisch!) in der barocken Kulisse des Schlosstheaters von Drottningholm.
„Meine Ehefrau ist die Theaterbühne, aber die Kinematographie ist meine Geliebte“, sagte Ingmar Bergman. Im BABYLON ist nun Gelegenheit, diese in ihrer Konsequenz einzigartige Ménage-à-trois in etwa 60 Filmen wiederzusehen oder sie kennenzulernen.
Weggefährten des „besten Regisseurs aller Zeiten“ (Cannes 1997) werden aus Schweden ins BABYLON kommen und von der Zusammenarbeit mit ihm erzählen, sowie Persönlichkeiten aus Film und Theater in Deutschland Texte des Schriftstellers Ingmar Bergman lesen.
Im Foyer sind währenddessen die Videoarbeiten „Nude with…Bergman“ der schwedischen Performancekünstlerin Anna Berndtson (Schülerin von Marina Abramovic) zu sehen.
„Sein Film ‚Die Jungfrauenquelle‘ war eine Offenbarung für mich, als ich ihn mit 18 Jahren gesehen habe. Er hat mein Leben verändert. Bergman hat mir meine Jungfräulichkeit und meine Unschuld geraubt.“ (Ang Lee in diepresse.com, 21.10.2007)
16.07. Stargast Liv Ullmann
16.07. 19:00 Gespräch zwischen Liv Ullmann und Margarete von Trotta: „Auf der Suche nach Ingmar Bergman“ (auf Englisch) – Eintritt: 15 Euro
21:00 Der neue Dokumentarfilm „Auf der Suche nach Ingmar Bergman“ von Margarethe von Trotta in Anwesenheit der Regisseurin und Liv Ullmann – Eintritt: 9 Euro
SE, 1946, R: Ingmar Bergman mit Inga Landgré, Stig Olin, Marianne Löfgren, 93 Min, OmeU
The seductions and disillusionments of city life play counterpoint to provincial goodness in this morality tale of a young daughter pulled between the worlds of her two mothers. The script itself is unremarkable; Bergman later disclaimed responsibility for the story by saying, "If someone had asked me to film the telephone catalogue I would have done so." One can imagine that Bergman's version of the phone book at this point in his career might have been the same fascinating jumble of cinematic styles that one can find in Crisis, where the French cinema of the thirties meets expressionistic lighting, an early attempt at a Bergmanian dream sequence, and introspective mirror shots. Most interesting is perhaps the arrogant and debonair seducer, Jack. Reportedly added surreptitiously to the script by Bergman just before shooting began, Jack is a foreign irritant in this otherwise banal narrative, as well as a harbinger of tortured characters to come in Bergman's other early films.
It Rains on Our Love [Det regnar på vår kärlek, Es regnet auf unsere Liebe]
SE, 1946, R: Ingmar Bergman mit Barbro Kollberg, Birger Malmsten, Gösta Cederlund, 95 Min, OmeU
Two young people try to protect a fragile love relationship on the margins of society against all pressures from established social institutions and their representatives. Although It Rains on Our Love is perhaps the most schematic of Bergman's early films about adolescents in crisis, with the guardians and adversaries of young love appearing in near-allegorical form, it is also the least tortured. The scenes of idyll and refuge for persecuted young lovers, more fleeting and vulnerable in his other films, here have a warmth that contemporary Swedish critics greeted with positive relief after the "distorted sexuality" of Crisis earlier that same year. The good-father/bad-father dichotomy that will mark much of Bergman's production is resolved here by having the compassionate narrator enter the action of the film as the couple's defense attorney in the final trial scene. An overall tone of naiveté peppered with burlesque irony makes this one of the most optimistic of his early films.
A Ship to India [Skepp till India land, Schiff nach Indialand]
SE, 1947, R: Ingmar Bergman mit Holger Löwenadler, Anna Lindahl, Birger Malmsten, 98 Min, OmeU
A salvage boat provides the claustrophobic but fascinating space for this narrative of filial revolt against a corrupt and overbearing father. Actor Birger Malmsten, to whom Bergman usually turned when he needed the depiction of a tortured adolescent, plays the hump-backed Johannes, cowed by his father's brutality as captain of the ship. The atmosphere Bergman creates on the waterfront, intentionally reminiscent of Marcel Carné's French films, led André Bazin to enthuse about this film's "world of blinding cinematic purity."
Breaking up the intentionally cramped composition and side lighting of the scenes on board are scenes from two more liberating spaces: the cabaret where the captain's mistress Sally performs, and a deserted windmill where Johannes takes Sally after the two of them fall in love. This sequence depicts an idyllic extra-narrative refuge from the troubled patriarchal universe that dominates Bergman's early films. The title of the film suggests something of the same, India standing in conceptually as the place outside society (and Oedipal narrative structures) where relationships are more fulfilling and natural.
Music in Darkness [Musik i mörker, Musik im Dunkeln]
SE, 1948, R: Ingmar Bergman mit Mai Zetterling, Birger Malmsten, Olof Winnerstrand, 88 Min, OmeU
Still waiting for a financial success after four tries, Bergman took on a film story meant to guarantee a profit-or rather, more or less constrained to do so. To the relief of his producer, this film actually was a modest success.
The conventional storyline relates the developing relationship between Bengt, a young musician blinded in an accident during his military service, and Ingrid, a lower-class servant girl in the home of Bengt's parents. In A Ship Bound for India, blindness is a minor motif; here it is developed into a full-blown psychological study and metaphor for youthful angst
The feverish dream sequence after the initial accident is particularly vivid and striking, especially given the cinematic constraints inherent in depicting a blind person's subjective experience. Bergman's restless early experiments with different styles here includes the classic Hitchcock conceit of filming himself in cameo; look for a young Bergman as a passenger on the train at the end of the film.
Port of Call [Hamnstad, Hafenstadt]
SE, 1948, R: Ingmar Bergman mit Nine-Christine Jönsson, Bengt Eklund, Mimi Nelson, 99 Min, OmeU
The young and restless Bergman tries yet another filmic tradition here with this human story in the neorealist mode: 'I still had nothing of my own to offer. I just grabbed helplessly at any form that might save me.' The result is a naturalistic city film, in which one finds the closest thing to overt social critique in Bergman's entire oeuvre. Here the issues facing the young working-class girl Berit are a grotesquely hypocritical mother, a troubled past, difficulties building a future with her present lover, and a friend who dies after a back-alley abortion. Especially noteworthy in comparison with the other early Bergman films is the fact that the main characters choose a narrative resolution in real life instead of in some extra-social, extra-narrative space. The cinematographer who helped capture the grittiness of the waterfront milieu here is newcomer Gunnar Fischer, who became Bergman's main photographer throughout the 1950s.
Thirst [Törst, Durst]
SE, 1949, R: Ingmar Bergman mit Eva Henning, Birger Malmsten, Birgit Tengroth, 84 Min, OmeU
Prison [Fängelse, Gefängnis]
SE, 1949, R: Ingmar Bergman mit Doris Svedlund, Birger Malmsten, Eva Henning, 78 Min, OmeU
Bergman's first major work, Prison makes a strong case for the proclamation that opens it: "Human life is an inferno." Gunnar Fischer's hard-edged expressionist cinematography is ideally suited to the harsh subject matter. A young author whose marriage has driven him to the brink of either murder or suicide is prompted by a film director to visualize his relationship with a prostitute. In an old attic, the "lovers" attempt to recapture their childhood. She falls asleep and, in a series of encounters that weave dream, nightmare, and "reality," she is confronted with his sadistic cruelty. The scenes of torture (involving cigarettes) and suicide were so extreme that Swedish censors trimmed the film. The imagery of death masks, dolls, and butchered animals is brilliant preparation for Bergman's later excursions into the world of dreams, and the film-within-a-film device looks forward to Persona.
To Joy [Till glädje, An die Freude]
SE, 1950, R: Ingmar Bergman mit Maj-Britt Nilsson, Stig Olin, Birger Malmsten, 98 Min, OmeU
In To Joy Bergman dedicates his full attention to a theme that will recur in smaller filmic moments throughout his career: the idea of music's redemptive power. In a frenetic performance, actor Stig Olin plays an ambitious concert violinist of mercurial temperament who ends up sacrificing nearly everything for his career. The fact that his orchestra conductor is in turn played by Victor Sjöström, the grand old master director of the Swedish silent cinema (and Bergman's main cinematic mentor as well), only adds to the resonances of this film as a personal parable of Bergman's own filmmaking. Beethoven's music, the source for the title, is equated by film's end with the momentary but intense joy of the Swedish summer, leading Bergman biographer Peter Cowie to cull from this film an artistic manifesto of sorts: 'There are brief instances in life that are of such exquisite beauty that they compensate for all the misery and unhappiness.'
Summer Interlude [Sommarlek, Einen Summer Lang]
SE, 1951, R: Ingmar Bergman mit Maj-Britt Nilsson, Birger Malmsten, Alf Kjellin, 95 Min, OmeU
A dancer, Marie (Maj-Britt Nilsson), who is at the height (and thus sees the end) of her powers as a prima ballerina, under the dreamlike pull of memory impulsively revisits the island of her youth and, in flashbacks, her first and only love. Bergman's breakthrough masterpiece is an almost magical fusion of sunstruck elegiac love poem and dark suggestion. The latter looks ahead to The Seventh Seal and its games with death; and to Sawdust and Tinsel in its depiction of a performer struggling to see her life clearly through a mirror of humiliation. But Marie, an early Bergman heroine suffused (like the film itself) with music and dance, finally will have none of that. Jean-Luc Godard wrote that, whereas he admired other films, he loved Summer Interlude, and one can see this reflected in his films with Anna Karina - the playful cinema (cf. Bergman's cartoon interlude here, and swanlike hands dancing), the doomed lovers, the beautiful survivors. "Paradise lost and time regained" (Godard).
Waiting Women [Kvinnors väntan, Sehnsucht der Frauen]
SE, 1952, R: Ingmar Bergman mit Anita Björk, Eva Dahlbeck, Maj-Britt Nilsson, 107 Min, OmeU
Secrets of Women is essential early Bergman, offering glimpses of what is to come but with a freshness of spirit that gracefully eludes the tropes of genius. Scenes from several marriages emerge when five women, all related, gather to await the arrival of their respective husbands at an island summer house. Each agrees to tell the others a crucial episode from her marriage. With the men relegated to narrative objects, Secrets plays like Cukor's The Women, stripped of its distanced, brittle comedy. In its place, the intimate, revealing encounter, the sudden knowledge of self and other that irreparably changes a marriage-despite appearance to the contrary. Mixing the wistful humor of averted tragedy with a rare elegiac optimism, this film announced Bergman internationally as a director with a unique understanding of women-more precisely, of what women know about men.
Summer with Monika [Sommaren med Monika, Die Zeit mit Monika]
SE, 1953, R: Ingmar Bergman mit Harriet Andersson, Lars Ekborg, Dagmar Ebbesen, 96 Min, OmeU
Critics touted Monika as "Bergman's most erotic film" for its theme of a young man's sexual awakening and scenes of nudity on an island in the Stockholm archipelago. But this summer interlude is surrounded by some of the bleakest commentary of Bergman's early cinema, in a city captured in all its shadows and empty light by the expert cinematographer Gunnar Fischer. Monika (Harriet Andersson), a restless, sexually harassed vegetable seller, and her more bourgeois boyfriend Harry take off in his father's boat for the islands. There she teaches him how to dance and how to make love, how to steal vegetables, and they dream of a family. But Borzage lovers turn into characters out of Pierrot le fou. Monika, now pregnant, becomes a denizen of the reeds. A shot of a spider web seems to announce Bergman deserting his young heroine, leaving her to founder in femme fatalism (eternal spider to man's fly) and a life of dubious freedom.
Sawdust and Tinsel [Sawdust and Tinsel, Abend der Gaukler]
SE, 1953, R: Ingmar Bergman mit Åke Grönberg, Harriet Andersson, Hasse Ekman, 92 Min, OmeU
Bergman's earliest evocation of the theater of humiliation, Sawdust and Tinsel is a portrait of turn-of-the-century itinerant circus performers who are figures of ritual mortification before their public and, in a day and night of unmasking, before each other as well. The circus owner, Albert (Åke Grönberg), and his bareback-rider girlfriend, Anne (Harriet Andersson), seek the rejections of, respectively, an ex-wife and a scornful actor from the more "respectable" provincial theater. Their disgrace and redemption are mirrored in a dreamlike flashback, which in turn finds its resolution in a dream of return and reunion. Through the deus ex machina of the cinema, the film is lifted from its sad subject by extraordinary cinematography in which many a Bergman trope finds its genesis: dressing-room mirrors turn an individual into her own twin, a couple into a complexity of faces, making the search for meaning in another human being a virtual gauntlet. Bergman's players truly earn their bows.
A Lesson in Love [En lektion i kärlek, Lektion in Liebe]
SE, 1954, R: Ingmar Bergman mit Eva Dahlbeck, Gunnar Björnstrand, Yvonne Lombard, 96 Min, OmeU
Bergman's version of a Cary Grant comedy of remarriage can't approach screwball but is rather oddball, and not just in its elliptical flashback format. The amorous adventures of a gynecologist is a queasy premise for laughs so it is fitting that (as usual) the women carry the day. Eva Dahlbeck, as the doctor's wife who embarks on a revenge affair of her own, stoops to conquer low comedy and raises it to her own level. And Harriet Andersson makes the role of an ever-questioning tomboy daughter a challenging Greek chorus. She's just the one to trim the feathers of the patriarchal peacock knowingly played by Bergman alter ego (capital E) Gunnar Björnstrand. Lessons in lyricism play off acerbic commentary on marriage for a film "notable among Bergman's work for its freedom and spontaneity of invention, its emotional richness, warmth and generosity.
Smiles of a Summer Night [Sommarnattens leende, Das Lächeln einer Sommernacht]
SE, 1955, R: Ingmar Bergman mit Gunnar Björnstrand, Ulla Jacobsson, Björn Bjelfvenstam, 109 Min, OmeU
One of the cinema's great erotic comedies. The plot is an Ophulsian ronde of love affairs and intrigues revolving around a middle-aged lawyer; his young wife who remains a virgin; his former mistress, a sophisticated stage actress; her lover, and his wife. They gather for a weekend at the country estate of the actress's elderly mother, who works a kind of magic on this ménage of infinite possibilities. A true parody of the ridiculous male, this is a comic working-out of an idea suggested so tragically in other Bergman films—that men are a species of beast who turn to women to save them from being totally humiliated. Not always a smart move. Woody Allen brilliantly reworked Smiles of a Summer Night in A Midsummer Night's Sex Comedy, and the film also inspired the Broadway play A Little Night Music.
Dreams [Kvinnodröm, Frauenträume]
SE, 1955, R: Ingmar Bergman mit Eva Dahlbeck, Harriet Andersson, Gunnar Björnstrand, 87 Min, OmeU
A fashion director, Susanne (Eva Dahlbeck), and her top model, Doris (Harriet Andersson), journey from Stockholm to Gothenburg for a shoot. While there, Susanne attempts a reconciliation with a married lover. The flighty Doris becomes involved with a wealthy gentleman (Gunnar Björnstrand) who senses that she can be bought: drawn to the innocence of youthful materialism, he becomes lost in a funhouse of desire that leaves him first weakened, then sickened, then, as he began, alone. For her part, the girl has her first real encounter with possession. Susanne is a study in obsession as played by a Kim Novak-like Dahlbeck-too blond, too statuesque, lost in interior pursuit of the past. Her train ride to Gothenburg relates in purely cinematic terms the emotional journey that lies ahead, one very similar to the old man's. Bergman uses his cinema of reflection-self and other are met and merged in mirrors, windows-to show love as a function of projection: only desire, never its object, is worthy of the effort.
Wild Strawberries [Smultronstället, Wilde Erdbeeren]
SE, 1957, R: Ingmar Bergman mit Victor Sjöström, Gunnar Björnstrand, Ingrid Thulin, 91 Min, OmeU
Wild Strawberries unites two strands in Bergman's work: here, the examination of male vanity finds its apex, and the protagonist is introduced to a rather severe comeuppance in the face of death. Bergman does it with mirrors, and with dreams, which are the mind's mirror. Interestingly, the film's Dali/Kafkaesque dream sequences have proved less memorable than the scenes in which natural settings are brilliantly transformed into dreamscapes by virtue of their flashback context. Honoring his debt to the early Swedish cinema and the oneiric quality of its nature cinematography, Bergman cast the great silent film director and actor Victor Sjöström as the aging pedant, Isak Borg, who dreams his own death, revisits his youth as a spectator, and learns amid the forgiving wild strawberries (symbolic in Sweden of a favorite spot or sanctuary) that he had always denied desire.
The Seventh Seal [Det sjunde inseglet, Das siebente Siegel]
SE, 1957, R: Ingmar Bergman mit Gunnar Fischer, Lennart Wallén, Katinka Faragó, 96 Min, OmeU
It may be folly to think that life and thus death hold any secrets. In The Seventh Seal Bergman spoke to this modern query in a medieval setting rendered at once awesome and intimate in chiaroscuro. A knight, Antonius Block (Max von Sydow), and his squire Jöns (Gunnar Björnstrand) return disillusioned from the Crusades to the hysteria of plague-infested fourteenth-century Sweden. On the shore Block encounters Death and, in one of the most effective reverse-angle exchanges ever filmed, challenges him to a game of chess, playing for time to perform one significant act in life. What is timeless about this existential passion play is the humanity of its characters, who seem to shun allegory like a kind of narrative death: Block, whom the Crusades took away from the real-the only proof of God – to the abstract, and torment; Jöns, cynical sensualist who articulates the void; Death himself, a picture of inconclusiveness; and the dreamer Jof and his wild-strawberry wife (Bibi Andersson), actors traveling into light.
Brink of Life [Nära livet, Nahe dem Leben]
SE, 1958, R: Ingmar Bergman mit Eva Dahlbeck, Ingrid Thulin, Bibi Andersson, 84 Min, OmeU
Brink of Life pursues Bergman's fascination with the inner lives of women to a maternity ward where three women await the blessed event with mixed attitudes – and fates. Only an unwed teenager who has tried to abort the dreaded newcomer finds herself heading toward a healthy delivery. The film won awards at Cannes not only for the director (his third in a row) but for the actresses – Ingrid Thulin, Eva Dahlbeck, and Bibi Andersson – whose ensemble work is impressive. The acting holds the charge, and the camera knows it, in this film that is simple in focus, and more clinical than cynical. Not your basic Bergman.
The Magician [Ansiktet, Das Gesicht]
SE, 1958, R: Ingmar Bergman mit Max von Sydow, Ingrid Thulin, Gunnar Björnstrand, 100 Min, OmeU
A carriage bumps along a wooded path. Inside is a magician, Vogler (Max von Sydow), and his entourage, including his young assistant who in his better moments is a she, the magician's wife (Ingrid Thulin); and an ancient auntie who has a sideline in love potions and, we suspect, eye of newt. They are a down-at-the-heels lot, curious about the devil out in the woods and about death, which joins them in their carriage. They are headed for a politically fraught performance, for the mute Vogler is mocked, as he is sought, for his "animal magnetism". And no one does animal magnetism better than von Sydow. We see hints of Persona (silence as the last refuge of the artist), Fanny and Alexander (family theatrics as its own refuge), and Scenes from a Marriage (in fact, two). But with its fairytale landscape, Expressionist sets, and old-dark-lab sci-fi, The Magician asks to be taken on its own terms. Max the mesmerist and Bergman the magician, each with his "apparatus", effect the willing suspension of belief.
Virgin Spring [Jungfrukällan, Die Jungfrauenquelle]
Johan (Erland Josephson) and Marianne (Liv Ullmann) are the perfect
twosome: two houses, two cars, two daughters, two careers. They have the
perfect marriage, until one day, they do not. Are we all living in utter
confusion? they wonder together; have we missed something important?
The Ekdahls are an upper-middle-class theatrical family who are
sheltered by their own theatrics from the deepening chaos of the outside
world. Bergman has the grace in this most graceful film not to view
their histrionics and eccentricities as neuroses.
Rehearsal [Efter repetitionen]
Ironically, this coda to Bergman's cinema career received some of the
best reviews of any of his films. Andrew Sarris called it 'one of
Bergman's greatest films. He has attained a sublimity of self-revelation
in this masterpiece such as few artists have achieved in any medium.'
Richard Corliss (Time Magazine) said it was 'as direct, serene and human
as any he has made.'
Auf der Suche nach
Internationally renowned director Margarethe von Trotta takes a closer look at Bergman's life and work and explores his film legacy with Bergman's closest collaborators, both in front and behind the camera, as well as a new generation of filmmakers. The documentary presents key scenes, recurring themes in his films and his life, and journeys to the places at the center of Bergman's creative achievement and the focal points of his life such as the Royal Dramatic Theatre in Stockholm, locations and landscapes from his masterpieces, and the stations from his career in Sweden, France and Germany. Explore the many layers of Bergman's work and life with INGMAR BERGMAN - LEGACY OF A DEFINING GENIUS.
Ingmar Bergman's home on Fårö island occupies something of a mythical
status among filmmakers. Some call it Mecca, others are intimidated by
the long, narrow house at Hammars, near the Persona beach. In
Trespassing Bergman, some of the world's leading directors and actors,
several on site at the house, talk about their relationship with the
demon director and his films.
Four of Sweden’s most innovative choreographers travel to Ingmar
Bergman’s home on Fårö to explore and get inspired. The result is a
unique contemporary dance film. The renowned Swedish choreographers
Alexander Ekman, Pär Isberg, Pontus Lidberg and Joakim Stephenson, with
principal dancers Jenny Nilson, Nathalie Nordquist, Oscar Salomonsson
and Nadja Sellrup from the Royal Swedish Ballet, interpret Ingmar
Bergman through four unique dance performances reflecting on human
relations and intense feelings. The dances are linked together with
images of the epic natural beauty of Fårö and Bergman’s poetic home
Hammars, including the voice of the master himself – Ingmar Bergman –
revealing his thoughts about movements and music.