Liv Ullmann

Synopsis:
‘Joe Martin, a quiet American, lives a quiet life in the South of France renting boats to tourists. He is happily married to Fabienne and has a twelve-year-old daughter named Michèle. But the quiet man has a past: ten years before, Joe (then Moran) had escaped with four other convicts, among whom the sadistic ex-mercenary Katanga. Seeing the latter brutally kill an M. P., Joe had abandoned his accomplices and left with the car. One night, Captain Ross, Katanga, Whitey and Fausto re-appear…
– Guy BellingerRead More »

Quote:
Scenes from a Marriage chronicles the many years of love and turmoil that bind Marianne (Liv Ullmann) and Johan (Erland Josephson), tracking their relationship as it progresses through a number of successive stages: matrimony, infidelity, divorce, and subsequent partnerships. Originally conceived as a five-hour, six-part television miniseries, the film is also presented in its three-hour theatrical cut. Shot on 16 mm in intense, intimate close-ups by cinematographer Sven Nykvist and featuring flawless performances by Ullmann and Josephson, Bergman’s emotional X-ray reveals the intense joys and pains of a complex bond.Read More »

Quote:
A film that relies heavily on dialogue, but is ultimately fulfilling.

The director has taken the realm of film to display a table top

discussion, or more accurately a philosophical conversation between someone’s most interesting and intelligent friends.

It’s a movie you can imagine yourself as an eavesdropper in on one of the most engaging and interesting discussions on life.

Worth the two hours and a subject matter still topical to world problems today.Read More »

While trying to come to terms with her late husband’s infidelity, a woman finds comfort in the
arms of his former lover, in this drama based on Frederic Raphael’s novel. After hearing of
her husband Peter (Tim Piggott-Smith)’s death on a business trip, Kate Morris (Liv Ullmann) is
shocked to discover that he was travelling with another woman. When the two women
finally confront their issues, the former rivals discover a common bond, leading to an
unexpected and physical relationship.Read More »

Synopsis
This feature documentary is an affectionate yet truthful account of the 42 years and 12 films long relationship between legendary actress Liv Ullmann and master film maker Ingmar Bergman.

Told entirely from Liv’s point of view, this rollercoaster journey of extreme highs and lows is constructed as a collage of images and sounds from the timeless Ullmann-Bergman films, behind the scenes footage, still photographs, passages from Liv’s book ‘Changing’ and Ingmar’s love letters to Liv.Read More »

PLOT:
This family drama by Monicelli features an impressive international cast: Liv Ullmann, Catherine Deneuve, Philippe Noiret, Stefania Sandrelli and Bernard Blier, and it won a series of prestigeous film awards upon its release. It is a less comedic film, than most of Monicelli’s oeuvre up to this point, although the folly of the Italian male is still a central theme, as it had been in so many of his films from the ’50s, ’60s and ’70s.
In this case, a group of several generations of women are pulled together, when an accident strikes the padre familias (Noiret) that they all in various ways are, or have been, involved with. Thus, the second half of the film focusses on this group of very different women, and how they manage to relate to each other and get along, when they are faced with a series of serious challenges.Read More »

Following the suicide of his beloved brother and deaths of even the most distant acquaintances, Abel Rosenberg attempts to discover the truth while facing depression, alcoholism, and anti-semitism.

Vincent Canby wrote:

BERLIN, NOV. 3-11, is a city without sunlight. Mostly it rains. It snows occasionally but it’s the kind of snow that is already gray by the time it reaches the cobblestones. Everything is damp, chilled. No winter coats anywhere. People cling to one another for warmth, but there is none. In effect, life is over in Ingmar Bergman’s new film, “The Serpent’s Egg.” What we witness are involuntary twitches, the glazing of eyeballs—the onset of rigor mortis.Read More »

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.Read More »

Quote:
In his book Images, Ingmar Bergman has written: “All my films can be thought of in terms of black and white, except for Cries and Whispers. In the screenplay it says that red represents the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke – a huge winged creature, half bird, half fish. But inside the dragon, everything was red.”

Certainly, Cries and Whispers marks the most sophisticated use of color in Bergman’s long career. It was only in 1963 that he turned, somewhat reluctantly, to color for All These Women, and even after that he continued to opt for black and white in such critical films as Persona, Hour of the Wolf, and Shame. With Cries and Whispers, however, Bergman for once – by his own admission – wants the work to be regarded in chromatic terms.Read More »