Quote:
“God, why hast thou forsaken me?” With Winter Light, Ingmar Bergman explores the search for redemption in a meaningless existence. Small-town pastor Tomas Ericsson (Gunnar Björnstrand) performs his duties mechanically before a dwindling congregation, including his stubbornly devoted lover, Märta (Ingrid Thulin). When he is asked to assuage a troubled parishioner’s (Max von Sydow) debilitating fear of nuclear annihilation, Tomas is terrified to find that he can provide nothing but his own doubt. The beautifully photographed Winter Light is an unsettling look at the human craving for personal validation in a world seemingly abandoned by God.

Ingmar Bergman - (1963) Winter Light.mkv

General
Container:  	Matroska
Runtime: 	1 h 21 min
Size: 	1.45 GiB
Video
Codec: 	x264
Resolution: 	792x576 
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https://nitro.download/view/C928838C1C58382/Ingmar_Bergman_-_(1963)_Winter_Light.mkv

Language(s):Swedish
Subtitles:English

The post Ingmar Bergman – Nattvardsgästerna AKA Winter Light (1963) first appeared on Cinema of the World.

Quote:
Cries and Whispers is a powerful, richly textured exploration of the human soul. The story is set on a remote country house, stripped from the distractions of the outside world (the only “guest” is an attending physician). Agnes (Harriet Andersson) is a terminally ill woman who is cared for by her two sisters: Karin (Ingrid Thulin), repressed and domineering, and Maria (Liv Ullman), sensual and indecisive. However, her only source of comfort is the devoted, nurturing maid, Anna (Kari Sylwan). As with other Bergman films, most notably Autumn Sonata, the film is a heartbreaking portrait of pain and regret, of things left unsaid and undone, until it is too late. Agnes’s slow, agonizing death is shattering, especially as she futilely struggles to reconcile the sisters, as her languid, convulsive frame strains each breath. Unable to reunite her sisters, her tortured soul can only grieve in incoherent gasps. Similar to Leo Tolstoy’s The Death of Ivan Ilych, death confers a profound revelation whose meaning escapes the survivors. Cries and Whispers is a beautifully devastating story of isolation, communication, love, and death.

Ingmar Bergman resisted using color as a novelty. His use of color in the film is precise and deliberate. Contrast the pale, muted landscape to the rich, deep colors inside the house. The color red, featured prominently in the film (as in Krzysztof Kieslowski’s Red) is used to create a multifaceted visual theme. The effect is one of immersion: a soul foundering in the corporal life blood, a stifling, forced intimacy arising from absence and isolation, and a body slowly consumed by illness. Cries and Whispers is a remarkable film of intoxicating beauty and extraordinary depth, a sublime work of art from a true master.

Cries.and.Whispers.1972.576p.BluRay.AAC1.0.x264-Dariush.mkv

General
Container:	Matroska
Runtime:	1h 31mn
Size:	5.54 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	956x576
Aspect ratio:	5:3
Frame rate:	23.976 fps
Bit rate:	8 024 kb/s
Audio
#1:	Swedish 1.0ch AAC LC @ 216 kb/s (Tartan DVD)
#2:	Swedish 1.0ch AAC LC @ 192 kb/s (Criterion BD)
#3:	English 1.0ch AC-3 @ 192 kb/s (English Dub)

https://nitro.download/view/9E710E36EE5BECC/Cries.and.Whispers.1972.576p.BluRay.AAC1.0.x264-Dariush.mkv

Language(s):Italian
Subtitles:English, French, Persian,Swedish

The post Ingmar Bergman – Viskningar och rop AKA Cries and Whispers (1972) first appeared on Cinema of the World.

The complicated relationships between a circus ringmaster, his estranged wife and his lover.

Sawdust and Tinsel 576p.mkv

General
Container:  	Matroska
Runtime: 	1 h 32 min
Size: 	1.49 GiB
Video
Codec: 	x264
Resolution: 	768x576 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
Bit rate: 	2 118 kb/s
BPP: 	0.200
Audio
#1:  	Swedish 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/76D6940C80233A4/Sawdust_and_Tinsel_576p.mkv

Language(s):Swedish
Subtitles:English

The post Ingmar Bergman – Gycklarnas afton AKA Sawdust and Tinsel (1953) first appeared on Cinema of the World.

A play that premiered 24 February 1965 on China stage, Royal Dramatic Theatre, Stockholm and was performed 19 times. It was shown in four parts on TV in November that same year.

The parts are between 29 & 37 minutes each. Every part begins with approximately 10 minutes from “behind the stage”. First part is from the repetitions about the directing and character developements, second part is about the stage, set- & costume design, in the third part the actors explain the prepatations and makeup, and finally in the fourh part there is bit more makeup, a short description of how it was when the plays were put up in Molieres time and a scene from when the cast are having coffee break.

Don Juan.mkv

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Container:  	Matroska
Runtime: 	2 h 14 min
Size: 	1.53 GiB
Video
Codec: 	MPEG-1
Resolution: 	352x288 
Aspect ratio:  	1.222
Frame rate: 	25.000 fps
Bit rate: 	1 500 kb/s
BPP: 	0.592
Audio
#1:  	2.0ch MP2 @ 128 kb/s

https://nitro.download/view/D65474D9184982F/Don_Juan.mkv

Language(s):Swedish
Subtitles:None

The post Ingmar Bergman – Don Juan (1965) first appeared on Cinema of the World.

Jim Tudor, screeanarchy.com
Margarette von Trotta found Ingmar Bergman a long time ago. She recollects as much in her new documentary about the iconoclast Swedish filmmaker, Searching for Ingmar Bergman, an excellent, excellent effort which she goes ahead and stars in. She was a young lady, living in late-1950s Paris, when her Nouvelle Vague-obsessed cohorts dragged her to a screening of Bergman’s first internationally acclaimed masterpiece, The Seventh Seal.

Like many, this radical discovery was her introduction to the man who’d globally impact cinema; an impact felt to this day. Von Trotta went on to become an actress and an award-winning filmmaker; an essential personality in the New German Cinema movement. Her career has been rich, her love of cinema even richer; her soul ever-curious. She may’ve found Bergman’s films years ago, but she nonetheless must come to know… who is the man, the mind, the truth of the master behind them? For this, the search continues.

Von Trotta doesn’t set out to solve the question of Bergman so much as get at who he was. Expected topics such as his notorious struggles with religious faith and his gradual letting go of it surprisingly aren’t covered so much as his working methods are, as well as his personal life, and yes, his spirit. Insomuch, von Trotta wisely allows Searching for Ingmar Bergman to play as a series of discussions; a deceptively brilliantly structured series of insights and chats with those who knew Bergman well and those who understand him.

In this, von Trotta and her co-directors Felix Moeller and Bettina Böhler (Christian Petzold’s frequent editor; also the editor of this film) manage a lighter, even airy tone that, while accurate in many ways to the man they’re uncovering, flies in the face of the heavy-laden and somber reputation of his work, and, by extension, his name.

Though not the first documentary about Ingmar Bergman, this is the best. Direct, even bluntly honest at times, Searching for Ingmar Bergman is an approachable, even inviting examination. While not without its share of both likely and unlikely “talking heads”, participants, von Trotta is conversational with them rather than a detached Interviewer. She begins with arguably the biggest catch possible, the great Liv Ullmann.

Out of the gate, we have a touching moment in which the women, while looking at old photos, linger on a picture of Ullmann presenting von Trotta with the Golden Lion at the 1981 Venice Film Festival for her film The German Sisters (aka Marianne & Juliane). Von Trotta tells of how Ullmann represented Bergman to her, with his spirit there over her during the prestigious victory at Venice. Sure enough, Bergman named The German Sisters among his ten favorite films. Although it’s not atypical for any given documentarian’s decision to insert him or herself into their film to prove an eye-rolling one, von Trotta’s onscreen participation is legitimate.

The son of a priest in a difficult yet affluent childhood, Bergman went on to exert an extremely controlled and exceptionally personal direction in his art making. As Bergman himself puts it in a vintage on-camera interview clip, “I have always felt lonely in the world out there. That is why I escaped into filmmaking even though the feeling of community is an illusion.”

In her chats with fellow directors such as Stig Björkman, Ruben Östlund and Mia Hansen-Løve, his compelling mastery of his craft, be it visual or in writing, is fascinatingly unpacked by those who’ve spent no shortage of time considering it. French filmmaker Olivier Assayas is wide-eyed and enthusiastic when he talks about Bergman’s emergence during a time when psychoanalysis was just starting to be seen as a way of understanding cinema. He speaks of how Bergman’s penchant for exploring his own issues via his work in his time and place makes him “perhaps one of the most fascinating film directors ever.”

He is, as non-Bergman actor Jean-Claude Carrière puts it, “…one of those who opened up cinema after the war.” We come to understand how, in the emerging World Cinema age of rapidly heightening subjective storytelling, Bergman first and foremost directs audiences’ focus via his famed direction of actors. Actors tend to adore Bergman, so much so that they return to work with him even in the wake of disastrous personal relationships with him.

Liv Ullmann says that she made eleven films with him, many of which were after their own time together as a couple. Whatever the case for other Bergman actresses (also featured in the documentary are Rita Russek [From the Life of Marionettes], Gunnel Lindblom [Winter Light], and Julia Dufvenius [Saraband]; not featured are Bibi Anderson, Harriet Andersson and key actor Max von Sydow), it’s difficult to disagree with Spanish director Carlos Saura when he gets at the much of the enduring spirit of Bergman’s cinema: “Everyone is in love with Bergman’s actresses,” he plainly states.

Of course, with a figure such as Ingmar Bergman, it cannot be all complements and awe. One of Bergman’s many, many children, his grown son Daniel Bergman (a filmmaker in his own right), speaks extensively of his strained relationship with his father, including a time they collaborated for a film project and ended up butting heads. Daniel Bergman expresses no love lost for his father, but does so (repeatedly) in the most matter of fact of ways, even as he remains fascinated by “Ingmar” (as he refers to him).

His extensive shortcomings as a glaringly absentee presence in the lives of his offspring was not lost on Ingmar Bergman himself. He’s recalled elsewhere, “In a quarrel with one of my sons, I said, ‘I know I’ve been a lousy father’. He said, ‘A father? You haven’t been a father at all!’” The man, ever a child himself, was incapable of giving himself over to his own children. If there is a central tragedy in the fabric of Searching for Ingmar Bergman, this is surely it. “I could always live in my art but never in my life.”, Bergman once said.

Just as he mandated a reality in which the children in Fanny and Alexander magically transport from one large truck to another to escape their abusive religious father, Bergman spent his life and career attempting to manipulate and control reality. At best, he could do so on screen and on stage via his myopic film and theater work. At worst, he did so via his disconnected relationships with his numerous wives and children. It is made clear that in never letting go of his childhood- the very source of his creativity- he strove to live and actualize a childish and childlike grip on reality. A dream (sometimes nightmare) reality of in which he is unmistakably at the center. How can there be room for God in a realm such as this?

Searching for Ingmar Bergman glides along so effortlessly, that its narrative chronology — the strained backbone of so many other such documentaries — is refreshingly unapparent for much of its ninety-nine minute running time. Yes, it begins with The Seventh Seal, and quickly touches upon certain touchstones such as Summer with Monika and Wild Strawberries. But Bergman’s Oscar winner, Through a Glass Darkly, is barely included, and his “comedy” and winner of the 1956 Palme d’Or, Smiles of a Summer Night, isn’t included at all.

In stark contrast, who would’ve suspected that this most definitive of documentaries on Ingmar Bergman would linger the longest on two of the director’s aggressively least popular works, 1977’s The Serpent’s Egg, and, from a few years later, From the Life of Marionettes. These grotesque and violent films (both physically and emotionally) were make during Bergman’s tax exile to Germany… perhaps this otherwise odd focus is von Trotta’s own nationalism coming through? In any case, this thickly dark period of turmoil turns out to be a particularly deep well in terms of Bergman’s own grappling, misgivings, frustrations, and anger. He’s deliberately funneled it all onto the screen.

Bergman has confessed that “I am living permanently in my dream, from which I make brief forays into reality.” Reeling it in a bit, he also said, “Film is a distributor of dreamers and of dreams. And it brings to life people’s dreams, wishes and most secret longings. Film will always be with us. There’s no better medium.” But immediately and maybe even crucially, this quote is followed by a silent half-beat, and then the most uncertain of sideways glances. It’s a blink-and-you’ll-miss-it moment, but one that nonetheless speaks possible volumes on the man’s chronic questioning of whatever was important or should’ve been important in his life. Even film.

Could the doubt be, then, that like the women he so adored and so related with, the flickering in-and-out nature of cinema is something he felt to be finite? Theater, his other, less-acknowledged lifelong artistic passion, was, to him, a more permanent fixture. A stage, perhaps, was something to be committed to, a structure that is there in the community and truly always with us. Inversely, cinema can and will take you anywhere. Yet sadly, whether one is making a film or watching one, they all must end. And when they end, their light is simply gone from the room, the screen itself has become lifelessly blank. An oasis. An illusion. “The theater is like a faithful wife,” he famously once said. “The film is the great adventure – the costly, exacting mistress.” In the winter light of this documentary, this quote is all the more telling.

Like Margarette von Trotta and her co-directing team, cinephiles will be searching for Ingmar Bergman for the rest of their days. In the meantime, they should search out Searching for Ingmar Bergman, a proper look into the man and his methods on the occasion of his centennial year.

Auf der Suche nach Ingmar Bergman (1).mkv

General
Container:  	Matroska
Runtime: 	1 h 39 min
Size: 	4.37 GiB
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Codec: 	x264
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https://nitro.download/view/034B643E62B4B7B/Auf_der_Suche_nach_Ingmar_Bergman.mkv

Language(s):German, Swedish, French, English
Subtitles:English

The post Margarethe von Trotta & Bettina Böhler & Felix Moeller – Auf der Suche nach Ingmar Bergman AKA Searching for Ingmar Bergman (2018) first appeared on Cinema of the World.

Quote:
In Stockholm, the fashion photographer Susanne Frank misses her married lover Henrik Lobelius that lives in Gothenburg with his wife and children, and the naive twenty years old model Doris has a troubled relationship with her boy friend Palle Palt. Susanne schedules a session of photo shoots in Gothenburg with Doris, and once there, she calls Henrik for an encounter. Meanwhile, Doris meets an elegant middle age gentleman on the street, the Consul Otto Sönderby, who buys expensive gifts for her: a dress, a pair of Italian gloves and valuable pearl necklace. They spend the afternoon together in an amusement park and later they go to Otto’s mansion, where they are interrupted by his wicked daughter Marianne. Susanne has a love affair with Henrik in her room, but they are interrupted by his cynical wife. The incidents in these encounters affect their perspective of love. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Dreams.1955.720p.BluRay.AC3.x264-SONiDO.mkv

General
Container:  	Matroska
Runtime: 	1h 27mn
Size: 	3.28 GiB
Video
Codec: 	x264
Resolution: 	960x720 
Aspect ratio:  	4:3
Frame rate: 	23.976 fps
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#1:  	Swedish 2.0ch AC-3 @ 640 Kbps

https://nitro.download/view/53A5978DA606D46/Dreams.1955.720p.BluRay.AC3.x264-SONiDO.mkv

Language(s):Swedish
Subtitles:English

The post Ingmar Bergman – Kvinnodröm AKA Dreams (1955) first appeared on Cinema of the World.

Quote:
After a seven-year absence, Charlotte Andergast travels to Sweden to reunite with her daughter Eva. The pair have a troubled relationship: Charlotte sacrificed the responsibilities of motherhood for a career as a classical pianist. Over an emotional night, the pair reopen the wounds of the past. Charlotte gets another shock when she finds out that her mentally impaired daughter, Helena, is out of the asylum and living with Eva.

Autumn.Sonata.1978.1080p.BluRay.FLAC.1.0.x264-c0kE.mkv

General
Container:  	Matroska
Runtime: 	1 h 32 min
Size: 	14.0 GiB
Video
Codec: 	x264
Resolution: 	1794x1080 
Aspect ratio:  	5:3
Frame rate: 	24.000 fps
Bit rate: 	21.2 Mb/s
BPP: 	0.455
Audio
#1:  	Swedish 1.0ch FLAC @ 323 kb/s
#2:  	English 1.0ch AAC LC @ 74.4 kb/s (Commentary by film critic Peter Cowie)

https://nitro.download/view/56114C0FA049F32/Autumn.Sonata.1978.1080p.BluRay.FLAC.1.0.x264-c0kE.mkv

Language(s):Swedish
Subtitles:English, Chinese, Vietnamese

The post Ingmar Bergman – Höstsonaten AKA Autumn Sonata (1978) (HD) first appeared on Cinema of the World.