Word: bergman
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...which children are disruptive and disorderly-- such as attention-deficit/hyperactivity disorder (ADHD)--selective mutism gets less attention and considerably fewer research dollars. "These children are ignored because, let's face it, they aren't causing anyone trouble. They are literally left alone and forgotten about," says psychologist Lindsey Bergman, associate director of the UCLA child and adolescent OCD [obsessive-compulsive disorder] and anxiety disorders program...
...Once the brand name of serious cinema, later ignored, left for dead, Bergman roared back at age 85 with his first film made for theatrical release in 20 years. A sequel of sorts to his Scenes from a Marriage in 1972, Saraband reunites the main couple, Johan (Erland Josephson) and Marianne (Liv Ullmann), for an icy tri-generational trauma that involves Johan?s widowed son Henrik (B?rje Ahlstedt) and Henrik?s teenage daughter Karin (Julia Dufvenius). The movie asks: How dependent is Henrik on the daughter he loves, perhaps to excess? How dependent is Johan on the son he hates...
...Apparently the great directors don?t care to abandon their favorite themes and stories. Like Herzog, Wong keeps making the same movie; his subject is love, how it hurts, and how beautiful a sight that pain can be. Like Bergman, he has made a sequel to a favorite earlier film. In the 2000 romance In the Mood for Love, Maggie Cheung and Tony Leung Chiu-wai circled each other in slo-mo for an hour and a half, and their almost-touching sparked more erotic heat than a dozen Jenna Jameson epics. In the new film Leung plays a harsher...
...about Antonioni's seductive use of existential ennui. And when foreign films didn't tax the brain, they stirred the loins. In pouty Brigitte Bardot, in statuesque peasant Sophia Loren, in the knowing rapture of Jeanne Moreau, Americans saw ideals of glamour more complex than Jayne Mansfield. Even Bergman gave you bosoms along with the angst. These films were invitations to European decadence; each American became a Henry James innocent abroad, primed for education and debauchery...
...foreign genre wasn't dead, it was missing. Some of the best directors died (Truffaut) or retired (Bergman). Others kept working, but in the U.S. their work was shown sporadically at best. The last films Fellini and Satyajit Ray made never opened here; neither have the most recent films by Godard, Resnais, Antonioni and Kurosawa. The Netherlands' Paul Verhoeven (Spetters) joined a century-long exodus of European talent to Hollywood (where he made Robocop and Showgirls). Denmark's Lars von Trier (Breaking the Waves) stayed in Europe but made films in English. That leaves a new generation of world masters...