|
Bergmanova sonata |
(2005) |
|
Saraband |
(2003) |
|
Persona |
(2002) |
|
Trolösa |
(2000) |
|
Larmar och gör sig till |
(1997) | | [ Peter Stormare ] |
|
Enskilda samtal |
(1996) | | [ Max von Sydow ] |
|
Sista skriket |
(1995) |
|
Söndagsbarn |
(1992) |
|
Goda viljan, Den |
(1992) | | [ Max von Sydow ] |
|
Markisinnan de Sade |
(1992) |
|
A Little Night Music |
(1990) |
|
Dokument Fanny och Alexander |
(1986) |
|
Efter repetitionen |
(1984) |
|
Karins ansikte |
(1984) |
|
Fanny och Alexander |
(1982) | | [ Peter Stormare ] |
|
Aus dem Leben der Marionetten |
(1980) |
|
Höstsonaten |
(1978) |
|
A Little Night Music |
(1977) |
|
The Serpent's Egg |
(1977) | | [ David Carradine ][ James Whitmore ] |
|
Ansikte mot ansikte |
(1976) |
|
Trollflöjten |
(1975) |
|
Scener ur ett äktenskap |
(1973) |
|
The Lie |
(1973) | | [ George Segal ] |
|
Viskningar och rop |
(1972) |
|
Beröringen |
(1971) | | [ Elliott Gould ][ Max von Sydow ] |
|
Reservatet |
(1970) |
|
Passion, En |
(1969) | | [ Max von Sydow ] |
|
Riten |
(1969) |
|
Skammen |
(1968) | | [ Max von Sydow ] |
|
Vargtimmen |
(1968) | | [ Max von Sydow ] |
|
Stimulantia |
(1967) |
|
Persona |
(1966) |
|
För att inte tala om alla dessa kvinnor |
(1964) |
|
Tystnaden |
(1963) |
|
Trämålning |
(1963) |
|
Nattvardsgästerna |
(1962) | | [ Max von Sydow ] |
|
Lustgården |
(1961) |
|
Såsom i en spegel |
(1961) | | [ Max von Sydow ] |
|
Djävulens öga |
(1960) |
|
Ansiktet |
(1958) | | [ Max von Sydow ] |
|
Nära livet |
(1958) | | [ Max von Sydow ] |
|
Smultronstället |
(1957) | | [ Max von Sydow ] |
|
Nattens ljus |
(1957) |
|
Sjunde inseglet, Det |
(1957) | | [ Max von Sydow ] |
|
Sista paret ut |
(1956) |
|
Sommarnattens leende |
(1955) |
|
Kvinnodröm |
(1955) |
|
Lektion i kärlek, En |
(1954) |
|
Gycklarnas afton |
(1953) |
|
Sommaren med Monika |
(1953) |
|
Kvinnors väntan |
(1952) |
|
Frånskild |
(1951) |
|
Sommarlek |
(1951) |
|
Medan staden sover |
(1950) |
|
Till glädje |
(1950) |
|
Fängelse |
(1949) |
|
Eva |
(1948) |
|
Hamnstad |
(1948) |
|
Musik i mörker |
(1948) |
|
Skepp till India land |
(1947) | | [ Peter Lindgren ] |
|
Kvinna utan ansikte |
(1947) |
|
Det regnar på vår kärlek |
(1946) |
|
Kris |
(1946) |
|
Hets |
(1944) |
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. By focusing on the exploration of self with unparalleled intensity, Bergman brought to the screen a new sense of emotional intimacy, fusing the concepts behind Freudian psychotherapy with a dreamlike sensibility founded on visual metaphors, flashbacks, and extreme close-ups to create a revelatory cinematic world unlike any before it. Born Ernst Ingmar Bergman on July 14, 1918, in Uppsala, Sweden, he followed a brief 1938 military stay by attending Stockholm University; there he staged his first plays, among them adaptations of Macbeth, August Strindberg's Lucky Peter's Journey and Master Olaf, and Maunce Maeterlinck's The Blue Bird. In 1939, Bergman accepted the job of production assistant at the Royal Theatre (the Stockholm Opera), leaving school the following year to focus on stage work. By early 1943, he had begun work at the script department of Svensk Filmindustri, with his original screenplay for Hets (Torment) filmed by leading director Alf Sjoberg the following year.While remaining active in the theater, Bergman also continued his work in the film industry, and in the summer of 1945 he began directing his debut feature, Kris (Crisis), an adaptation of a drama by Leck Fisher. His next four films — 1946's Det Regnar p |
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