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12.07.-12.08.2018 Retrospektive INGMAR BERGMAN 100

  Filme                    Programm
 

Mo, 16.07. 19:00

 

Ingmar Bergman 100: Stargast Liv Ullmann live!

  Gespräch 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!  

Tickets unbedingt vorab sichern: 15 Euro, KEINE Reservierung möglich.

Das BABYLON feiert die 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.

 

   
 

Mo, 16.7. 21:30  Auf der Suche nach Ingmar Bergman

  D 2018, R: Margarethe von Trotta, Felix Moeller, 97 Min, OmeU

In Anwesenheit des Regisseur!

Zum 100. Jubiläum von Ingmar Bergman im Jahr 2018 widmet sich Margarethe von Trotta in einem persönlichen Rückblick dem Werk des legendären Regisseurs.

Am 14. Juli 2018 wäre der legendäre, schwedische Regisseur Ingmar Bergman 100 Jahre alt geworden. Mit unter anderem „Wilde Erdbeeren“, „Szenen einer Ehe“ und „Das siebente Siegel“ ging er in die Filmgeschichte ein. Das Jubiläum nimmt die Regisseurin Margarethe von Trotta („Die bleierne Zeit“) zum Anlass, um sich dem Leben und Schaffen Bergmans dokumentarisch zu nähern und mit zeitgenössischen Filmemachern über dessen Werke zu diskutieren. Auch um die Wechselwirkung zwischen den beiden Regisseuren geht es im Dokumentarfilm „Auf der Suche nach Ingmar Bergmann“: Von Trotta beschloss, selbst Regisseurin zu werden, nachdem sie Bergmans „Das siebente Siegel“ gesehen hatte. Und Bergman bekannte einst, dass ihn von Trottas „Die bleierne Zeit“, der 1981 den Goldenen Löwen in Venedig gewann, wie kaum ein anderer Film geprägt habe.

   
 

12.07.-12.08. Retrospektive INGMAR BERGMAN 100

 

Der Hundertjährige, der nicht verschwand

  „der 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 Allgemeine, 28.08.2008)

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
   
 

Filme

  Crisis [Kris]

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.

The Virgin Spring [Jungfrukällan, Die Jungfrauenquelle]

SE, 1960, R: Ingmar Bergman mit Max von Sydow, Birgitta Valberg, Birgitta Pettersson, 89 Min, OmeU
Bergman went to a medieval wellspring, a folk song whose simplicity and stark violence he recreated in purely visual terms, for his first collaboration with cinematographer Sven Nykvist. A girl in the bloom of innocent sensuality, the apple of her father (Max von Sydow)'s eye, is raped and murdered. A young boy who has watched his brothers perform the act suffers along with them the father's terrible revenge. Bergman's medieval forays derive their strange beauty from the fact that early Christianity seems foreign and mythic to contemporary viewers. But this only makes strange the modern-day films like Winter Light whose struggles are no less Manichaean than those of The Virgin Spring. Conversely, no film in his oeuvre could be more modern in terms of its Freudian overtones, and the agnosticism it provokes in the viewer.


The Devil's Eye [Djävulens öga, Das Teufelsauge oder Die Jungfrauenbrücke]

SE, 1960, R: Ingmar Bergman mit Jarl Kulle, Bibi Andersson, Stig Järrel, 87 Min, OmeU
The devil has a stye in his eye, caused by the purity of a vicar's daughter. To get rid of it, he sends Don Juan up from hell to seduce the 20 year old Britt-Marie and to rob her of her virginity and her belief in love. She however can resist him and things get even turned around when Don Juan falls in love with her. The fact that he feels love for the first time now, makes him even less attractive to her and Don Juan returns to hell.

Through a Glass Darkly [Såsom i en spegel, Wie in einem Spiegel]

SE, 1961, R: Ingmar Bergman mit Harriet Andersson, Gunnar Björnstrand, Max von Sydow, 89 Min, OmeU
Through a Glass Darkly is the first in a trilogy that includes Winter Light and The Silence. The search for God, which is complicated by and confused with lust and madness, is the central theme of this trilogy. Karin (Harriet Andersson), daughter, wife, and recently released mental patient, convalesces at her family's seaside summer cabin, where the men in her life have hardly a clue what emotional sustenance the confused and delusional woman might require. Her father (Gunnar Björnstrand) and husband (Max von Sydow), both cold, self-absorbed intellectuals, distance themselves from the recovery process while Karin increasingly fixates on her vulnerable and sexually susceptible younger brother. That Karin is to be consumed in the search for God is the film's ever-controversial premise, made all the more provocative by the implied eternal detachment of Bergman's (significantly male) God.

The Silence [Tystnaden, Das Schweigen]

SE, 1963, R: Ingmar Bergman mit Ingrid Thulin, Gunnel Lindblom, Birger Malmsten, 95 Min, OmeU
Sisters Anna (Gunnel Lindblom) and Ester (Ingrid Thulin) are traveling with Anna's son when they are forced by Ester's poor health to hole up in a hotel in a strange country seemingly on the verge of war. Anna shuns the attentions of her desperately ill sister and goes out, picking up a man in a bar. Ester is left to cope with the pain of her desire and her illness; it seems they are one.
Meanwhile the boy explores the mysteries of the old hotel, playing out the fears inspired by the passions around him. The third film of Bergman's "God trilogy" was one of his most controversial. If it remains risky and experimental it is not for its intimations of incest but for the post-apocalyptic landscape of emotions it traverses: a truly desolate foreign land, where language is reduced to ciphers, and sex to a brittle ritual of humiliation; where God is no longer even an absence.

Winter Light [Nattvardsgästerna, Licht im Winter]

SE, 1963, R: Ingmar Bergman mit Ingrid Thulin, Gunnar Björnstrand, Gunnel Lindblom, 81 Min, OmeU
On a cold winter's Sunday, the pastor of a small rural church (Tomas Ericsson) performs service for a tiny congregation; though he is suffering from a cold and a severe crisis of faith. After the service, he attempts to console a fisherman (Jonas Persson) who is tormented by anxiety, but Tomas can only speak about his own troubled relationship with God. A school teacher (Maerta Lundberg) offers Tomas her love as consolation for his loss of faith. But Tomas resists her love as desperately as she offers it to him. This is the second in Bergman's trilogy of films dealing with man's relationship with God.


All These Women [För att inte tala om alla dessa kvinnor, Ach, diese Frauen]

SE, 1964, R: Ingmar Bergman mit Jarl Kulle, Bibi Andersson, Harriet Andersson, 80 Min, OmeU
This was Bergman's first film in color, and he prepared for the transition with fastidious care. Set in the music world, the film is a satire about pompous males and the women who stroke their vanity while getting just what they want from them. A pretentious music critic visits the summer home of a renowned cellist who has just died. Intending to write the cellist's biography, the critic (as much a despised figure in Bergman as he is in Beckett) encounters a glittering phalanx of women who were the musician's "harem." Having put up with the virtuoso's infantilism, they now set about toying with the critic who seems to want to become the man he is writing about. The film is most notable for bringing together a sparkling ensemble of Bergman's favorite actresses who have a great time as "all these women".

Persona [Persona]

SE, 1966, R: Ingmar Bergman mit Sven Nykvist, Ulla Ryghe, Kerstin Berg, 85 Min, OmeU
The temptation is to take Bergman's masterpiece for granted. It is probably the most famous of all those modern, post-Pirandellian films concerned with themselves as works of art. It also contains one of the most truly erotic sequences on film, demonstrating what can be done on screen with told material. An actress named Elizabeth (Liv Ullmann) elects to become silent and is put into the care of Alma (Bibi Andersson), a nurse companion. The actress's act, we soon learn, has two aspects: it is a wish for ethical purity, but it is also a species of sadism, a virtually impregnable position of strength from which to manipulate her nurse, who is charged with the burden of talking. By the end of the film, the two characters are engaged in a desperate Strindberg-like duel of identities, and Bergman has turned that struggle into a metaphor for the fate of language, art, and consciousness itself.

Hour of the Wolf [Vargtimmen, Die Stunde des Wolfs]

SE, 1968, R: Ingmar Bergman mit Max von Sydow, Liv Ullmann, Ingrid Thulin, 90 Min, OmeU
Madness and demonism, present in many of Bergman's films, are made the explicit themes of Hour of the Wolf. Here they are associated with artistic creativity. Alma (Liv Ullmann) tells of her life with her artist husband, who disappeared, leaving only his diary.
The first of three films featuring Max von Sydow as Bergman's alter ego, the artist in retreat to an island (Fårö, the director's own home) where all his demons and imagined monsters can come out to play, threatening to possess their creator and 'disappear' him into the darkness behind the brain. A strikingly Gothic tale of horror, Hour of the Wolf owes much to Bram Stoker's Dracula in its evocation of the artist's admirers and tormentors as vampires, flocks of flesh-eating birds and insects.

Shame [Skammen, Schande]

SE, 1968, R: Ingmar Bergman mit Liv Ullmann, Max von Sydow, Gunnar Björnstrand, 103 Min, OmeU
During civil war, two musicians retreat to a rural island to farm. They are apolitical; a neighbor sometimes gives them a fish; wine is a luxury. They love each other, but there are problems: the war upsets Jan, he is weepy, too sensitive; Eva wants children, he does not. The war suddenly arrives: rebels attack, neighbors die. When the other side restores order, Jan and Eva are arrested as collaborators. After frightening and roughing them up, the local colonel releases them; then he begins appearing at their farmhouse: to talk or to pursue Eva? He gives her money. The rebels return; chaos ensues. Jan becomes violent and murderous; they flee. Can they escape? If so, to what?

The Passion of Anna [En passion, Passion]

SE, 1969, R: Ingmar Bergman mit Max von Sydow, Liv Ullmann, Bibi Andersson, 101 Min, OmeU
As he rifles through a purse left by Anna Fromm (Liv Ullman), he finds a letter with a phrase that warns of 'physical and psychical acts of violence'. His seduction (or redemption) by the world moves dramatically to confirm that phrase. Into the grays, browns and greens of Bergman's newly mastered color palette, burst the reds that threatens to become the sign of any human relationship – the deeper, the more violence necessary to break through to the other person. With Persona, The Passion of Anna marks the high-point of Bergman's achievement in the sixties. Liberated from any direct confrontation with theology, Bergman here translates his concerns into new terms. 'Why don't you do something you believe in?' Anna asks the architect, and Bergman's Brechtian cinematic practices are this film's answer.

The Touch [Beröringen, Berührungen]

SE, 1971, R: Ingmar Bergman mit Elliott Gould, Bibi Andersson, Max von Sydow, 115 Min, OmeU
Ingmar Bergman's first film in English, stars Bibi Andersson as Karin Vergérus, a Swedish housewife trapped in a stable but somewhat unsatisfying marriage with a small-town surgeon (Max von Sydow). When the lively, engaging Jewish American archaeologist David Kovac (Elliott Gould) enters the picture, Karin gives in to her attraction and begins an affair. But Karin's new relationship turns out to be less fulfilling than she had hoped, and she is torn between staying with David and returning home to her husband and children.

Cries and Whispers [Viskningar och rop, Schreie und Flüstern]

SE, 1973, R: Ingmar Bergman mit Sven Nykvist, Siv Lundgren, Katinka Faragó, 91 Min, OmeU
Cries and Whispers depicts the final day of Agnes (Harriet Andersson), who lies in bed with cancer. Her most dear ones—, her sisters, Maria (Liv Ullmann) and Karin (Ingrid Thulin), and a companion, Anna (Kari Sylwan) —watch over her. In a film as formal as a clock's tick, Bergman restricts his palette to colors of blood, his close-ups to the image of the soul. The four women want strength to face life, to overcome fear, to remove the curtain from behind which they look and admire, but do not go forth to touch. They are the same person in different stages of realizing that to love is to empty oneself of desire; to forgive oneself; to hear fully the cry of the present through the searing whispers from the past; to imagine a love that gives without knowing how to heal or provide rest, yet is vast and vigilant, because that is life's meaning: to be saved by giving one's body and soul.

Scenes from a Marriage - feature [Scener ur ett äktenskap - Biografversionen, Szenen einer Ehe] - Feature Film

SE, 1974, R: Ingmar Bergman mit Liv Ullmann, Erland Josephson, Bibi Andersson, 169 Min, OmeU

Scenes from a Marriage chronicles the many years of love and turmoil that bind Marianne (Liv Ullmann) and Johan (Erland Josephson) through matrimony, infidelity, divorce, and subsequent partners.

The Magic Flute [Trollflöjten, Die Zauberflöte]

SE, 1975, R: Ingmar Bergman mit Josef Köstlinger, Irma Urrila, Håkan Hagegård, 135 Min, OmeU
A perfect summer opera, Mozart's playful The Magic Flute is brought to joyous cinematic life through the talents of Bergman, an acclaimed organist and musicologist who once declared that he would have become a conductor if film had not claimed him first. Love triumphs over all, as a young man seeks to rescue a beautiful princess from the hands of an evil sorcerer.
Peter Cowie on The Magic Flute:
"Bergman's film of The Magic Flute remains the finest screen version of an opera ever produced. Shot in sumptuous color by Sven Nykvist, and featuring some of the finest Nordic singers of the day, the film marks Bergman's overt tribute to classical music. Mozart's magic has been neither betrayed nor merely reproduced by Bergman, but rather filtered through the Swedish maestro's own metaphysical vision in a remarkable act of homage."

The Serpent's Egg [Ormens ägg, Das Schlangenei]

SE, 1977, R: Ingmar Bergman mit Liv Ullmann, David Carradine, Gert Fröbe, 119 Min, OmeU
Ingmar Bergman's The Serpent's Egg follows a week in the life of Abel Rosenberg, an out-of-work American circus acrobat living in poverty-stricken Berlin following Germany's defeat in World War I. When his brother commits suicide, Abel seeks refuge in the apartment of an old acquaintance Professor Vergérus. Desperate to make ends meet in the war-ravaged city, Abel takes a job in Vergérus' clinic, where he discovers the horrific truth behind the work of the strangely beneficent professor and unlocks the chilling mystery that drove his brother to kill himself.Mozart's magic has been neither betrayed nor merely reproduced by Bergman, but rather filtered through the Swedish maestro's own metaphysical vision in a remarkable act of homage."

Bakomfilm Höstsonaten Making of Autumn Sonata Making of HERBSTSONATE
Infos in Kürze

Autumn Sonata [Höstsonaten, Herbstsonate]

SE, 1978, R: Ingmar Bergman mit Liv Ullmann, Lena Nyman, Halvar Björk, 93 Min, OmeU
The warm autumnal hues of a house on a lake give a false, perhaps wished-for sense of security to the setting, the home of a pastor and his wife, Eva (Liv Ullmann). Very soon the steely tone of love avoided, attempted, and denied overrides all hope.
The arrival of Eva's mother (Ingrid Bergman, in her only film with Ingmar Bergman), a world-traveling concert pianist, for their first meeting in seven years occasions a near-complete opening out of feelings by daughter and mother. Near complete, for Ingrid Bergman subtly portrays the mother's love, grief, and guilt as mercurial posturings of a virtuoso performer. The better for our understanding of Eva's sense of abandonment and loss, conveyed in Ullmann's bruising honesty and echoed in the utterings of Eva's disabled sister, Helena. Bergman uses a formal combination of flashback tableau and piercing close-up to answer the daughter's worst fear-that her grief is her mother's secret pleasure-with the reality of indifference.

Fårö Document 1979 [Fårödokument 1979, Faro Dokument 1979]

SE, 1979, R: Ingmar Bergman mit Liv Richard Östman, Ulla Silfvergren, Annelie Nyström, 121 Min, OmeU
Bergman produced two films about his beloved island Fårö, where he made his home and which served as the setting for [many of his] films. In 1969, troubled by the island's disappearing traditions and the exodus of its young people to the mainland, Bergman made a surprisingly direct and political document about Fårö's importance.Ten years later he took a second look at the situation in his second Fårö Document. (A third was planned for 1989 but was not made.) The update is surprisingly optimistic, with several remarkable "then and now" juxtapositions. The unhappy teenagers about to decamp for Stockholm in the first film turn out to have settled into the quiet isolated Fårö life. Interweaving scenes of extraordinary natural beauty with interviews and rigorous sequences depicting everyday chores, customs, and rituals on Fårö, Bergman develops a complex, understated, and loving portrait of his tiny island.

From the Life of the Marionettes [Aus dem Leben der Marionetten, Aus dem Leben der Marionetten]

SE, 1980, R: Ingmar Bergman mit Robert Atzorn, Christine Buchegger, Martin Benrath, 103 Min, OmeU
From the Life of the Marionettes is an unusually raw and explicit Ingmar Bergman drama, featuring two supporting characters from Scenes from a Marriage. Peter Egermann (Robert Atzorn), outwardly stable and well adjusted, suffers from depression, feelings of sexual inadequacy, and barely suppressed rage toward his wife, Katarina (Christine Buchegger), the latter eventually leading to the brutal rape and murder of a prostitute. Events are not presented in chronological order, but the film consists mainly of a number of scenes preceding the crime that painfully illustrate the Egermanns' marital discord, and a series of subsequent police interrogations involving psychiatrist Mogens Jensen (Martin Benrath), a friend of the Egermanns'; Katarina's business partner, Tim (Walter Schmidinger); and Peter's devastated mother (Lola Müthel).

Fanny and Alexander [Fanny och Alexander - Biografversionen, Fanny und Alexander]

SE, 1983, R: Ingmar Bergman mit Kristina Adolphson, Börje Ahlstedt, Pernilla Allwin,188 Min, OmeU
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.
One tumultuous year in the life of the Ekdahl family is viewed through the eyes of ten-year-old Alexander, whose imagination fuels the magical goings-on leading up to and following the death of his father. His mother's remarriage to a stern prelate banishes Alexander and his sister Fanny from all known joys, and thrusts them and the movie into a kind of gothic horror.
The bishop is a Bergmanesque character whose severity has gone awry – he has become sinister – and the film's round rejection of him in favor of "kindness, affection and goodness" may be Bergman's fondest farewell to cinema.


The Making of Fanny and Alexander [Dokument Fanny och Alexander]

SE, 1986, R: Ingmar Bergman mit Arne Carlsson, Sylvia Ingemarsson, Ingmar Bergman, 110 Min, OmeU
Bris Soap Commercials []
SE, 1951, R: Ingmar Bergman mit Doris Svedlund, Åke Jensen, Börje Lundh, 10 Min, OmeU


Stimulantia (episode Daniel) [Stimulantia]

SE, 1967, R: Ingmar Bergman mit Käbi Laretei, Daniel Bergman, Alma Laretei, 11 Min, OF Schwedish
Fårö Document [Fårödokument]

SE, 1970, R: Ingmar Bergman mit Erland Wallin, Ingrid Ekman, Verner Larsson, 58 Min, OmeU
The Dance of the Damned Women [De fördömda kvinnornas dans]
SE, 1976, R: Ingmar Bergman mit Helene Friberg, Nina Harte, Lena Wennergren, 24 Min, OmeU
Karin's Face [Karins ansikte]
SE, 1986, R: Ingmar Bergman mit Arne Carlsson, Sylvia Ingemarsson, Owe Svensson, 14 Min, OmeU
The Ritual [Riten, Der Ritus]
SE, 1969, R: Ingmar Bergman mit Ingrid Thulin, Anders Ek, Gunnar Björnstrand, 72 Min, OmeU
A judge questions three actors about their new production, which is considered obscene. Their relations are complex: Sebastian is an unstable drunkard, in debt and guilty of killing his former business partner. He is involved with Thea. She is tense and fragile, prone to outbursts of rage, and is married to Sebastian‘s new partner, Hans.

Scenes from a Marriage - TV-series [Scener ur ett äktenskap - TV-versionen, Szenen einer Ehe]
SE, 1974, R: Ingmar Bergman mit Liv Ullmann, Erland Josephson, Bibi Andersson, 281 Min, OmeU

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?
Bergman's masterful approach to the dissolution is more an exercise in veneer-stripping than outright dissection. Character revelation is very much in the moment, so we discover the many sides of the prismatic Marianne a little before she does, and suffer the belch that is Johan's burst for freedom. Perfection in cinema may be as suspect as it is in marriage and Bergman here allows at least the affect of artlessness. Due in part to the film's being shot close-in for the television miniseries, there are no sidebars to a haunting past, as in Autumn Sonata, nothing of the warmth and elegance of nature to situate love's labors in a larger context. It makes the film riveting and uncompromising, but also liberating: if there are no big answers, we can't "miss something important".

Fanny and Alexander- TV-series [Fanny och Alexander - TV-versionen]
SE, 1983, R: Ingmar Bergman mit Kristina Adolphson, Börje Ahlstedt, Pernilla Allwin, 188 Min, OmeU

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.
One tumultuous year in the life of the Ekdahl family is viewed through the eyes of ten-year-old Alexander, whose imagination fuels the magical goings-on leading up to and following the death of his father. His mother's remarriage to a stern prelate banishes Alexander and his sister Fanny from all known joys, and thrusts them and the movie into a kind of gothic horror.
The bishop is a Bergmanesque character whose severity has gone awry – he has become sinister – and the film's round rejection of him in favor of "kindness, affection and goodness" may be Bergman's fondest farewell to cinema.

After the Rehearsal [Efter repetitionen]
SE, 1984, R: Ingmar Bergman mit Erland Josephson, Ingrid Thulin, Lena Olin, 75 Min, OmeU

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.'
A spare, pellucid work featuring three actors in one set, After the Rehearsal is a far-reaching meditation on life and theater and the connections between the two. Erland Josephson plays a theater director who is rehearsing Strindberg's A Dream Play; Ingrid Thulin, his former star, now a ravaged alcoholic who has been assigned a small role; and Lena Olin, the ambitious young female lead. The solitary musings and incendiary encounters of these characters illuminate a world which Bergman both loves and fears: that of the bare stage.

Auf der Suche nach Ingmar Bergmann
Germany, FR, 2018, R: Margarethe von Trotta mit Liv Ullmann, Ruben Östlund, Olivier Assayas , 99 Min, German, OmeU

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.

Trespassing Bergman [Bergmans video]
SE, 2013, R: Jane Magnusson, Hynek Pallas mit Tomas Alfredson, Woody Allen, Wes Anderson, 107 Min, OmeU

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.

Ingmar Bergman in the choreographers eyes
SE, 2016, R: Fredrik Stattin mit Alexander Ekman, Pär Isberg, Pontus Lidberg , 51 Min, OmeU

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.

Bergman and Fårö Island [Bergman och Fårö (Marie Nyreröd)]
SE, 2007, R: Min,
Bergman and the Theatre [Bergman och teatern (Marie Nyreröd)]
SE, , R: Min,
Bergman and the Cinema [Bergman och filmen (Marie Nyreröd)]
SE, , R: Min,


https://www.imdb.com/title/tt0469772/?ref_=fn_al_tt_1