Word: kari
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Dates: during 1970-1979
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...sitting in the corner of a sleazy cafe, Contemplating hari-kari and auto...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically -- the Woman as Other -- to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Central...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically--the Woman as Other--to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Harvard Square...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically--the Woman as Other--to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Harvard Square...
Cries and Whispers. Bergman's latest, filmed with a crimson colored Gothic expressionism reminiscent of Edvard Munch. Set in a turn of the century manor house, two sisters (Liv Ullmann and Ingrid Thulin) along with a peasant servant (Kari Sylwun) attend their dying sister (Harriet Andersson). Bergman uses the women schematically--the Woman as Other--to play out his 'nothingness' theme: the ultimate isolation of every human being, the tissue of lies that passes for communication between men, the meaningless of extra-human faith, the nothingness at the heart of it. Harvard Square...