The Passion of Anna is a 1969 Swedish drama film written and directed by Ingmar Bergman. Its original Swedish title is En passion, which means “A passion”. Bergman was awarded Best Director at the 1971 National Society of Film Critics Awards for the film.
Andreas, a man struggling with the recent demise of his marriage and his own emotional isolation, befriends a married couple also in the midst of psychological turmoil. In turn he meets Anna, who is grieving the recent deaths of her husband and son. She appears zealous in her faith and steadfast in her search for truth, but gradually her delusions surface. Andreas and Anna pursue a love affair, but he is unable to overcome his feelings of deep humiliation and remains disconnected. Meanwhile, the island community is victimized by an unknown person committing acts of animal cruelty. Continue reading
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Halvar Björks acting in this film must be one of the best ever performed in Swedish film. The film is still very interesting to see. People who can´t appreciate films about persons who are not as superficial and conventional as themselves will of course have some troubles with this film. Continue reading
Underground explosions cause the snow to flutter down from the trees and the houses to shake. The ground beneath Kiruna is so brittle that soon all the inhabitants of Sweden’s northernmost town will have to move to another place. It seems the mining company has decided everyone’s future – for good or for bad. In her first feature film, which only has sparse dialogue and is more a series of atmospheric images than a linear story, the director describes the feelings of the young people who live here. Markus has no interest in anything except cars and resists all of his parents’ well-intentioned attempts to give him advice. Daniel has big problems with his father who is addicted to alcohol. Both lads are continuously on edge. The sound of heavy machinery, the squealing of conveyor belts and the metallic hammering of drills pervades the air. In winter it’s bitterly cold; in summer it’s sunny and green. The breathtaking beauty of the landscape is ruptured by the huge industrial sites and slag heaps. Continue reading
With Thirst (1949), Ingmar Bergman began to display an astonishing technical virtuosity and control over the medium of film. A crosshatched, multilayered narrative, sewn together with fascinating side trips and flashbacks, Thirst was adapted by theater critic (and Bergman mentor) Herbert Grevenius from four controversial short stories written by famed Swedish stage actress Birgit Tengroth, and moved Bergman even further away from his theatrical origins. Simultaneously a portrait of a decaying marriage and a dreamlike journey through various characters’ tragic pasts and presents, the film evinces a newfound assurance, both in storytelling complexity and visual invention. Notoriously hard on his own work, Bergman himself was even able to later grant, “The film does show a respectable cinematographic vitality. I was developing my own way of making movies.” Continue reading
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 Continue reading
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan’s son from another marriage and his granddaughter.
August 4, 2005
Ingmar Bergman is balancing his accounts and closing out his books. The great director is 85 years old, and announced in 1982 that “Fanny and Alexander” would be his last film. So it was, but he continued to work on the stage and for television, and then he wrote the screenplay for Liv Ullmann’s film “Faithless” (2000). Now comes his absolutely last work, “Saraband,” powerfully, painfully honest. Continue reading
Teenage angst was never this heartwarming., 13 October 2004
Author: el-p from The North East, England
Having just recently seen director Lukas Moodysson’s teen prostitution exposé, Lilja 4-ever, I was expecting a similarly bleak film in Fucking Åmål. Not so. This is the story of two teenage girls who find each other, against peer and family pressure, and their own insecurities.
It is the differences between the two girls that initially make their relationship so touching. Agnes is a loner, with only a girl in a wheelchair for a friend, who she soon insults and alienates. Before she meets Erin, we rarely see her without tears in her eyes. On the surface, Erin couldn’t be more different. She can pick and choose boyfriends and has dozens of friends. However, she is disillusioned with this life. She fights constantly with her sister, has falsely been given a reputation as a slut by those in her school, and, unlike Agnes, does not have a stable family. So, when she discovers that Erin is a lesbian, she is intrigued, if a little insensitive at first.
The bulk of the narrative concerns Erin’s attempts at coping with her homosexuality, but Moodysson also provides us with a snapshot of smalltown teenage ennui. The teens have nothing better to do than to sit around, waiting for night to come so they can get drunk, and/or have sex. This obviously leaves a lot of time for petty insults and peer pressure to build, which is the dominant them of the film, or rather, accepting difference, and not caving in to peer pressure. Continue reading