More views of - or before - Cambridge Film Festival 2019 (17 to 24 October)
(Click here to go directly to the Festival web-site)
5 June
It appears that, thereafter, Ingmar Bergman turned his attention to t.v., theatre, opera, but that he said, of Fanny og Alexander (1982), that it was his most autobiographical film.
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) June 6, 2022
There may be some sense in which the entire cast are emanations of Bergman himself, and that we shouldn't imagine that he is just there in the defiant title-characters, in their deceived mother, Emilie, in randy Gustav or his sad, ghostly brother Oscar or the spendthrift Carl.
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) June 6, 2022
He is there in the supportive, but weary, mother and her good friend and comfort in Isak Jacobi, and, of his household, in the mysterious Aron and in Ismael - terrifying with and in revealing and facilating the enactment of Alexander's vengeful desires :
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) June 6, 2022
Maybe, though, Bergman confronted himself most in giving us Bishop Edvard Vergerus ?
— THE AGENT APSLEY #ScrapUniversalCredit #JC4PM2019 (@THEAGENTAPSLEY) June 6, 2022
Without saying so, as such, in her Searching for Ingmar Bergman (2018), Margarethe von Trotta's film might lead us to that conclusion ?
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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