Bibi Andersson

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:
The story opens just before Christmas, when solitary, apathetic bank clerk Flemming Borck uncovers a plot to rob his bank. (It’s a convoluted set-up, so we’ll just leave it at that.) After doing a little rookie recon, Borck identifies the would-be bank robber as a faux shopping-mall Santa Claus, and counter-plots to steal the money himself and let Santa take the blame. This works out about as badly as you might imagine, and our bumbling protagonist spirals further and further away from the carefree, laconic lifestyle he had hoped to ensure for himself.Read More »

A love triangle through the four seasons. A young woman, living in a relationship, falls in love with a married man. If someone had told her that she in a few months should be the man’s mistress, she would become aggrieved and indignant. She was certainly not a woman who would mess with married men.Read More »

Synopsis
In the early fifties Ingmar Bergman got himself a cine-camera, a 9.5 mm Bell & Howell, which he often used both privately and in his work. “Bilder från lekstugan” (“Images from the Playground”) embark on these films, giving a diverse representation of one of the greatest artists in cinema.Read More »

Quote:
Conceived as an amusing diversion in the wake of Ingmar Bergman’s despairing trilogy, this comedy is the director’s first film in color, and it is an opulent visual feast. Working from a bawdy screenplay he cowrote with actor Erland Josephson, about a supercilious critic drawn into the dizzying orbit of a famous cellist, Bergman brings together buoyant comic turns by a number of his frequent collaborators, including Jarl Kulle, Eva Dahlbeck, Harriet Andersson, and Bibi Andersson. All These Women, in which Bergman pokes fun at the pretensions of drawing-room art, possesses a distinctly playful atmosphere and carefree cadences.Read More »

Set in Sweden in 1782. Jacob, a young nobleman (Per Oscarsson) returns from France to his home and cherished sister Charlotte (Bibi Andersson) who is engaged to Baron Alsmeden (Jarl Kulle). The siblings close relationship becomes incestuous and with fear that the disclosure of Charlotte’s pregnancy will make society view them as libertines, the lovers ultimately choose to part. Jacob decides to leave the country and Charlotte is left to marry the Baron, but it is too late to prevent the final tragedy.Read More »

Quote:
Persona is arguably Ingmar Bergman’s most challenging and experimental film. Elisabeth Vogler (Liv Ullman) is an accomplished stage actress who, in the middle of performing Elektra, ceases to speak. Sister Alma (Bibi Andersson), the young nurse assigned to care for her, learns that there is nothing physically or even psychologically wrong with Elisabeth – she has simply, consciously decided not to speak. Alma (the name, not accidentally, is the Spanish word for soul) describes her initial impressions of Elisabeth as gentle and childlike, but with strict eyes. She takes Elisabeth to the attending physician’s remote summer house to facilitate her recuperation. At first, the two seem ideally suited: a talkative, candid, and inexperienced nurse, and a sophisticated, enigmatic, and silent patient. They take long walks, bask in the sun, and read together. It is obvious that their isolation has cultivated a sense of intimacy between them, albeit one-sided.Read More »