Max von Sydow

Bibi Andersson

Ingrid Thulin

Gunnel Lindblom

With the exception of his elderly housekeeper Miss Agda who he treats almost like a surrogate platonic wife, widowed seventy-eight year old Dr. Isak Borg, a former medical doctor and professor, has retreated from any human contact, partly his own want but partly the decision of others who do not want to spend time with him because of his cold demeanor. He is traveling from his home in Stockholm to Lund to accept an honorary degree. Instead of flying as was the original plan, he decides to take the day long drive instead. Along for the ride is his daughter-in-law Marianne, who had been staying with him for the month but has now decided to go home. The many stops and encounters along the way make him reminisce about various parts of his life. Those stops which make him reminisce directly are at his childhood summer home, at the home of his equally emotionally cold mother, and at a gas station where the attendants praise him as a man for his work. But the lives of other people they encounter almost mirror his own, including hitchhikers Sara, Viktor and Anders - who remind him of his cousin Sara who he was going to marry, himself and his irresponsible brother Sigfrid who Sara eventually married - a bickering married couple Sten and Berit Alman, and Marianne and her husband and Isak's son Evald, whose marriage is as strained as was his own.—Huggo

Wild Strawberries

Wild Strawberries (1957)

Lars Lind

Inga Landgré

Three women in a maternity ward reveal their lives and intimate thoughts to each other, where they face the choice of keeping their babies or offering them for adoption.

Brink of Life

Brink of Life (1958)

Ingmar Bergman

Liv Ullmann

Andreas, a man struggling with the recent demise of his marriage and his own emotional isolation, befriends a married couple also in the midst of psychological turmoil. In turn he meets Anna, who is grieving the recent deaths of her husband and son. She appears zealous in her faith and steadfast in her search for truth, but gradually her delusions surface. Andreas and Anna pursue a love affair, but he is unable to overcome his feelings of deep humiliation and remains disconnected. Meanwhile, the island community is victimized by an unknown person committing acts of animal cruelty.—Nancy Dowling

The Passion of Anna

The Passion of Anna (1969)

Allan Edwall

Kristina Adolphson

Stig Järrel

The devil has a stye in his eye, caused by the purity of a vicar's daughter. To get rid of it, he sends Don Juan up from hell to seduce the 20 year old Britt-Marie and to rob her of her virginity and her belief in love. She however can resist him and things get even turned around when Don Juan falls in love with her. The fact that he feels love for the first time now, makes him even less attractive to her and Don Juan returns to hell.—Leon Wolters

The Devil's Eye

The Devil's Eye (1960)

Harriet Andersson

Ulla Jacobsson

Birgitta Valberg

It's late nineteenth century Sweden. Middle aged lawyer Fredrik Egerman and his nineteen year old current wife Anne Egerman's two-year marriage has not yet been consummated. Fredrik wants to give Anne as much time as she needs to feel comfortable before losing her virginity. Although she loved Fredrik when they got married, Anne realizes she is attracted to Fredrik's adult son, Henrik Egerman, a brooding seminary student who is home following his most recent exams. Also a virgin, Henrik has been in an awkward flirtation with the Egermans' sexually experienced maid, Petra, in an effort to lose his virginity. When she first sees actress Desirée Armfeldt, Anne, without Fredrik telling her, knows that Desirée and Fredrik used to be lovers, the two who still have feelings for each other. Desirée currently is having an affair with married Count Carl-Magnus Malcolm. While he is jealous of any man who Desirée shows any attention to such as Fredrik, he is not the same with his young wife, the Countess Charlotte Malcolm, who he freely allows to have affairs of her own, or so he says. The Countess and Anne also happen to be friends. Largely orchestrated by Desirée, these interrelationships may play themselves out on one summer overnight social gathering at Desirée's mother's house, but not without the potential of some unforeseen tragic consequences.—Huggo

Smiles of a Summer Night

Smiles of a Summer Night (1955)

Barbro Hiort af Ornäs

The pretentious critic Cornelius is writing a biography on a famous cellist and to do some research he goes to stay in his house for a few days. He doesn't manage to get an interview with the man, but by talking to all the women who live with him, he comes to learn a lot about the musician's private life none the less. Cornelius then decides to use this information and tries to blackmail the cellist into performing a composition that he, Cornelius, has written.—Leon Wolters

All These Women

All These Women (1964)

A Knight and his squire are home from the crusades. Black Death is sweeping their country. As they approach home, Death appears to the knight and tells him it is his time. The knight challenges Death to a chess game for his life. The Knight and Death play as the cultural turmoil envelopes the people around them as they try, in different ways, to deal with the upheaval the plague has caused.—John Vogel

The Seventh Seal

The Seventh Seal (1957)

Erland Josephson

Following two characters, Marianne and Johan, the film, in typical Bergman style, examines ontological questions of love, loneliness, being and what it means to be 'fulfilled'. As with all of Bergman's films, 'Scenes From a Marriage' is not simply a narrative about a married couple and their 'ups and downs'. Bergman successfully probes into what it means and feels like to need the love and/or security, validation of another person and the consequences of life-changing decisions.

Scenes from a Marriage

Scenes from a Marriage (1974)

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