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

Enskilda samtal 1996 Theatrical Cut PAL DVD DD2.0 x264-RR.mkv

General
Container:	Matroska
Runtime:	2h 5mn
Size:	3.44 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	716x568 ~> 1009x568
Aspect ratio:	16:9
Frame rate:	25.000 fps
Bit rate:	3 725 kb/s
Audio
2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/5B06A0B7917963B/Enskilda_samtal_1996_Theatrical_Cut_PAL_DVD_DD2.0_x264-RR.mkv

Language(s):Swedish
Subtitles:English

The post Liv Ullmann – Enskilda samtal AKA Private Confessions (1996) first appeared on Cinema of the World.

“Liv Ullmann’s directorial debut is a beguiling and bittersweet tale about the yearning to be free… “

Synopsis:
Copenhagen at the end of the nineteenth century. Sofie is a beautiful and cultured 28-year-old who lives at home with her parents Frederikke and Semmy. They only want the best for her and worry that she will end up an old maid like her three aunts with whom they share the weekly Sabbath meal…

5.34GB | 2h 31m | 1920×1080 | mkv

https://nitro.download/view/BFF0BF72BF23906/Sofie.1992.1080p.mkv
https://nitro.download/view/D06C56A2EBD4BC2/Sofie.1992.1080p.en.srt
https://nitro.download/view/E5406A172986CCE/Sofie.1992.1080p.srt

Language:Swedish,Danish
Subtitles:English, Danish (for non-Danish dialogues)

The post Liv Ullmann – Sofie (1992) first appeared on Cinema of the World.

August Strindberg felt that the entire world had gone crazy. The “norms” of class hierarchies and gender roles were starting to shatter, and he saw chaos pouring into that vacuum. His 1888 play “Miss Julie” is the prime example, although it’s evident in all of his other disturbing, great modern works. “Miss Julie” plays in almost real-time, taking place in one setting over the course of a single evening, Midsummer Night’s Eve, the one long night of the year when the classes blend together, when rich dance and drink with poor, when the boundaries have blurred. There are only three characters in the play, and it opens with Jean, an upwardly-striving valet remarking to his pal and sort-of girlfriend, the kitchen maid, that “Miss Julie is crazy!” Miss Julie is the daughter of the count in whose manor they both work.
Strindberg was a nervous man, whose plays read like frenziedly-written journal entries of despair and anxiety (crying out, like Dr. Venkman in “Ghostbusters,” “Human sacrifice, dogs and cats living together, mass hysteria!”) Legendary acting teacher Stella Adler lectured extensively on Strindberg (and other playwrights), and these lectures have been published in a wonderful volume, “Stella Adler on Ibsen, Strindberg, and Chekhov.” Adler spoke of the difference between Ibsen and Strindberg, helpful to keep in mind when examining Strindberg: “In Ibsen, the single person is rebellious. In Strindberg, you can’t really rebel. In Ibsen, you don’t break the social form. In Strindberg, the social pattern of life is broken. The revolt is a strong, nervous one. It doesn’t come through as ideas but as temperament – violent. Inner conflict with Ibsen leads to ideas; with Strindberg it leads to chaos.”

When Liv Ullmann’s “Miss Julie” works best, it shows us that total emotional and social chaos, chaos that destroys not only the individual characters in the play, but the entire society in which they live. “Miss Julie” is a rather strange experience, with its consistently static medium shots of the three actors, as they roar their lines at one another. But it has an undeniable power. For Strindberg to work, one must feel the context of his time, and understand Miss Julie’s immediate ruination by “falling” for the valet (the script is filled with images of rising and falling).

Ullmann’s adaptation of Strindberg’s script stays very close to the original; the main change being that it now takes place on an estate in Ireland. Ullmann opens up the action only slightly, with the reveling Midsummer Night’s Eve crowds always offstage, heard but never seen. There are a couple of scenes in Jean’s bedroom, and one outdoor scene when Jean and Miss Julie take a walk. Other than that, the action stays in the kitchen, suggesting how much Miss Julie is “lowering” herself by hanging out there. The claustrophobia of the kitchen is overwhelming in the film, and the shots of Miss Julie wandering through the manor by herself, her posture broken and stiff, her dress falling off her shoulder, give us a welcome (and yet rivetingly disturbing) change of scene.

The three characters are played by Jessica Chastain, Colin Farrell and Samantha Morton, and each actor has to deliver some of the most challenging monologues ever written, with no cinematic tricks. Many of the monologues are delivered wholesale, in one shot, with barely a cut-away to the listener. It requires A-game acting, shots like that, and watching these actors work is the main pleasure of “Miss Julie.” Ullmann doesn’t worry too much about making the action cinematic, and the constant monologuing can get a little trying. The entire play is conversation, bantering at first, growing in desperation, until finally the chaos roars in like a tsunami. As Miss Julie breaks down, Chastain is, quite frankly, extraordinary. She gathers her considerable powers and pours them into a role that is different from anything else she has ever done. It’s a powerhouse performance, without any self-congratulatory or self-indulgent giveaways. Her agony is so palpable that one wonders how she will survive her own performance. Feeling that way is essential for “Miss Julie” to work, and from Chastain’s unforgettable first entrance, sidling into the kitchen, looking like a wreck, the crack in her psyche is already clearly visible on her face.

Farrell is terrific as Jean, playing around with Miss Julie at first, following her seemingly heedless orders to kiss her shoe, despite what it might look like to others, and despite the fact that he is in a relationship with Kathleen. He warns her at one point that by flirting with him, she is playing with fire. He’s not to be trifled with. He is a man trapped in his social station, although he is representative of the movement between the classes, a valet who has traveled the world with his Master, knows about good wines (although he steals a bottle on occasion), speaks other languages, and has an ease in the world that Miss Julie lacks. And yet when the Master rings the bell for him, his loyalty sways automatically towards the man he serves. He is in deep conflict, and the fact that Miss Julie falls so hard for him shows that she is just as “low” as he is. His lust turns to contempt in a devastating heartbeat. Farrell manages all of this gracefully and sensitively, as though he were born to play the role. It’s a great fit.

And Samantha Morton as Kathleen, the maid, is horrified and betrayed by Miss Julie’s inappropriate bantering going on in her kitchen with her man. Unlike the other two characters, Kathleen knows her place, and respects those “above” her. The movement between the classes, representative by Jean and Miss Julie’s one-night fling, fills her with disgust and apprehension. She’s Strindberg’s stand-in. Morton is magnificent. Some of her best moments are reaction shots. As Miss Julie babbles to her about how she and Jean are going to set up a hotel on Lake Como, and maybe Kathleen can work in the kitchen there, and marry a nice man eventually, Morton’s face shows the deep horror of not only what she is seeing, but the clear madness in Chastain’s performance. “Do you really believe all that, Miss Julie?” she breathes. “Miss Julie” is filled with small moments like that, small behavioral moments that are rich and strange, trembling with possibility and terror.

Miss Julie was raised with massive financial advantages, but she was also raised in total chaos. There is madness in her family line. Her mother taught her to hate men. That is the crux of Miss Julie’s problem, and that is the destabilizing effect that Jean, the good-looking valet, has on her. When she “falls” for him, she means it. But the second they sleep together, Jean turns on her. She’s a whore to him now. After Jean and Miss Julie sleep together, Chastain sits in his bed, stiff and traumatized, wiping the blood from between her legs, with plucking frozen fingers, the panic trembling off of her posture. (“Miss Julie” also, famously, has her period, mentioned in the first scene by Kathleen, who uses it as a possible explanation for why Miss Julie’s behavior has been so “queer” in the couple of days prior.) With all of the monologuing in the film, Chastain’s body language in that scene, and directly afterwards, as she walks away from Jean’s room, in pain and entirely altered, tells the story clearer than any words could do.

Ullmann fills the score with mournful Schubert and Bach, familiar pieces of music that become thematic, as opposed to mere pretty background. The scenes of Miss Julie by herself, trapped in her red bedroom with her caged finch, or staggering drunk up the main stairway of the manor, a ruined woman, running from the madness of what she has done, are made even more powerful by that urgent insistent underscoring.

Reaction to the film will depend on how one feels about seeing three people stand around delivering lines at one another. But the acting is so good it creates its own mood, outside of anything cinematic that Ullmann could have chosen to add to it; it creates its own atmosphere of claustrophobia, hysteria, and self-loathing. Ullmann, a brilliant actress herself, hands the script over to her actors. It is theirs.
Review by Sheila O’Malley

https://nitro.download/view/59F8EA0B37E365F/Miss.Julie.2014.720p.WEB-DL.x264.AC3-EVO.mkv

https://ddownload.com/24liwxnqfx46/Miss.Julie.2014.720p.WEB-DL.x264.AC3-EVO.mkv

Language(s):Swedish
Subtitles:English hardsubbed

The post Liv Ullmann – Miss Julie (2014) first appeared on Cinema of the World.

Renowned actress-turned-director Liv Ullmann helms this bleak, nuanced film about marriage and betrayal penned by legendary filmmaker Ingmar Bergman. The story is straightforward — Marianne Vogler (Lena Endre) is a beautiful actress who is married to Markus (Thomas Hanzon), whose job as an orchestra conductor requires numerous concerts abroad, and who dotes on their young daughter Isabelle (Michelle Gylemo). Yet when Marianne has an affair with family friend David (Kirster Henriksson), a film director with a volcanic temper and little regard to those around him, the fallout destroys the marriage and brings grief and suffering to all involved, particularly Isabelle. Ullman and Bergman frame this plot with a tale about an elderly director named Bergman (Erland Josephson, who played opposite Ullman in Bergman’s landmark Scenes from a Marriage) who is trying to write a script about infidelity. In his austerely decorated house on a remote island, Bergman invites an actress, who may or may not be a figment of his imagination, to breathe life into the character of Marianne. The actress tells Bergman of Marianne’s story through flashbacks. One evening, on the closing night of the play that Marianne was in — and while Markus is abroad — David arrives for dinner with her and ultimately sleeps, platonically, in her bed. This unplanned intimacy soon leads to a full blown affair, including a three week romantic getaway to Paris. When Markus finally discovers the couple in flagrante delicto, he demands an immediate divorce and custody of their daughter. This film was screened in competition at the 2000 Cannes Film Festival. -Allmovie

Trolosa.AKA.Faithless.2000.576p.BluRay.DD.5.1.x264-KG.mkv

General
Container:  	Matroska
Runtime: 	2 h 34 min
Size: 	3.54 GiB
Video
Codec: 	x264
Resolution: 	1024x554 
Aspect ratio:  	1.85:1
Frame rate: 	23.976 fps
Bit rate: 	2 750 kb/s
BPP: 	0.202
Audio
#1:  	Swedish 5.1ch AC-3 @ 448 kb/s
#2:  	English 2.0ch AAC LC @ 79.3 kb/s (Commentary by film scholar Adrian Martin)

https://nitro.download/view/A34DC8974DDC8EF/Trolosa.AKA.Faithless.2000.576p.BluRay.DD.5.1.x264-KG.mkv

Language(s):Swedish
Subtitles:English, Spanish

The post Liv Ullmann – Trolösa AKA Faithless (2000) first appeared on Cinema of the World.

By Liv Ullmann
(Translated by the author in colloboration with Gerry Bothmer and Erik Friis)

Published by Knopf, 1977
(Origianly published in Norwegian as Forandringen, 1976)

Quote:

She opens herself to us as she writes about working with Bergman (“No studio is as silent as his… To film with Ingmar is long stretches of happiness where everything seems real”): about living with Bergman (“His dream was the woman who had been created in one peice, but I crumbled into bits and pieces if he wasn’t careful”):about travelling with him: about his monumental genius and idiosyncrasies; She lets us feel the almost overwhelming flow of her own feelings for her young daughter; She tells us about her first love, about the husband she left, the family she came from, the people she relies on..

http://www.nitroflare.com/view/448D60E5B5D0E39/Changing.pdf

no pass

The post Liv Ullmann – Changing (1977) first appeared on Cinema of the World.