From the blurb
Pu was born into a stormy household. The courtship and early years of his parents’ marriage are already described in Ingmar Bergman’s novel The Best Intentions. And in Sunday’s Child the eight-year-old boy is all too alert to the recurrent quarrels resounding through the thin walls of the parental bedroom: his daunting father (a priest) and his adored mother, he realises to his terror, no longer want to be together.
As Bergman focuses on a single summer spent in a ramshackle country house by the family ( a chaotic household comprising Pu’s brother and sister and seven assorted adults), the surface mood of idyll amid the ponds, rivers and woods is underlaid by the constant threat of a childhood world on the point of splitting asunder. And the final image of Pu’s father pedalling home from a Sunday service in a neighbouring village, with the little boy riding in the front carrier through a drenching summer storm that turns the road into a stream – this is as powerful as anything Bergman has projected on the silver screen.