Ansikte mot ansikte (1976)

Liv Ullmann plays Dr. Jenny Isakson, a psychiatrist who is taking a vacation while her husband Dr. Erik Isakson (Sven Lindberg) is elsewhere. Haunted by visions of an old woman, Jenny suffers from profound, inexplicable depression. Desperately in search of a escape from her doldrums, she has an affair with married doctor Tomas Jacobi (Erland Josephson). This only serves to spark an attack of hysteria for Jenny. Again visited by hallucinations of the old woman, she attempts suicide. While hovering between life and death, she imagines she sees all the people who've been influential in her life, and rails against them for causing her neuroses. Only while recovering does she learn who the spectral old woman is and why she is undergoing so harrowing an emotional experience. Like his later Scenes From a Marriage, Bergman's Face to Face (Ansikte mot ansikte) originated as a multipart TV series, which was then pared down into a two-hour-plus feature film. - by Hal Erickson - allmovie

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Fanny och Alexander (1982)

Though he made allusions to his own life in all of his films, Fanny and Alexander was the first overtly autobiographical film by Ingmar Bergman. Taking his time throughout (188 minutes to be exact), Bergman recreates several episodes from his youth, using as conduits the fictional Ekdahl family. Alexander, the director's alter ego, is first seen at age 10 at a joyous and informal Christmas gathering of relatives and servants. Fanny is Alexander's sister; both suffer an emotional shakedown when their recently-widowed mother (Ewa Froling) marries a cold and distant minister. Stripped of their creature comforts and relaxed family atmosphere, Fanny and Alexander suddenly find their childhood unendurable. The kids' grandmother (Gunn Wallgren) "kidnaps" Fanny and Alexander for the purpose of showering them with the first kindness and affection that they've had since their father's death. This "purge" of the darker elements of Fanny and Alexander's existence is accomplished at the unintentional (but applaudable) cost of the hated stepfather's life. Ingmar Bergman insisted that Fanny and Alexander, originally a multipart television series pared down to feature-film length, represented his "retirement" work, though within a year after its release he was busy with several additional Swedish TV projects. Oscars went to Fanny and Alexander for best foreign film, cinematography (Sven Nykvist), costumes and art direction/set decoration. - by Hal Erickson - allmovie

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Skammen (1968)

Shame demonstrates the futility of escaping the consequences of war. In 1971, the Rosenbergs, Jan (Max von Sydow) and Eva (Liv Ullmann), have retreated to an island off the coast of their unnamed country, which is embroiled in a civil conflict. Trained and employed as classical violinists, they make a modest living raising and selling lingonberries, though they continue to play their instruments. When a plane carrying soldiers crashes on the island, Jan and Eva see their lives changed in an instant as soldiers from both sides of the conflict overrun the island and fighting breaks out. (more)

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Smultronstället (Wild Strawberries) (1957)

After exploring his disillusionment with religion in his previous films, Ingmar Bergman adopted a humanistic approach for this classic study in isolationism. Legendary Scandinavian director Victor Sjöström stars as Isak Borg, an aging medical professor who reassesses his life while journeying to his former university to receive an honorary degree. Borg travels with his estranged daughter-in-law Marianne (Ingrid Thulin) and revisits many of the landmarks of his past, conjuring up memories of his family and of his onetime sweetheart Sara (Bibi Andersson).
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Persona (1966)

in memory of Ingmar Bergman

(July 14, 1918 - July 30, 2007)

The most famed and honored filmmaker ever to emerge from the nation of Sweden, Ingmar Bergman radically altered the nature and meaning of the motion picture form, transfiguring a medium long devoted to spectacle into an art capable of profoundly personal meditations into the myriad struggles facing the psyche and the soul. He died yesterday...God rest his soul.

Persona. Director Ingmar Bergman is modern cinema's most persistent observer of the human condition. He examines the Eden that is Sweden and sees—much as Bruegel once did in Flanders—that the occupants are really having a Hell of a time. Persona, his 27th film, fuses two of Bergman's familiar obsessions: personal loneliness and the particular anguish of contemporary woman. It is the story of a great stage actress (Liv Ullman), suddenly become mute and detached while starring in a production of Electra. She is afflicted with what medieval theologians called accidie—a total indifference to life. Her doctor insists that her inactivity is simply another form of roleplaying, and he sends her packing to a villa on the Baltic in the company of a nurse (Bibi Andersson).

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The Serpent's Egg (1977)

Director Ingmar Bergman explores the horrors of 1920s Germany and creates "a hell on earth with a power few others could match" (Cue) in this psychological thriller that "casts a hypnotic spell of evil". Out-of-work trapeze artist Abel Rosenberg (David Carradine) finds the only way to navigate the surreal circus that is 1923 Berlin is to stay drunk. But even through his stupor, he can see the thread of a frightening mystery - everyone he knows, even his most distant acquaintances, is dying violently. Can he survive... or will his mind and soul completely unravel?

Berlin is shown to already possess the sinister elements of cruelty and anti-Semitism which laid the groundwork for the later Nazi takeover. A series of misadventures gets them sent to a medical clinic for treatment. However, the clinic is actually a site for Nazi-type "racial" experiments on humans, which generally either madden or kill the subjects. (In Allmovie)

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