A Swedish pastor fails a loving woman, a suicidal fisherman and God.
A Swedish pastor fails a loving woman, a suicidal fisherman and God.
冬之光, Luz de invierno, De Avondmaalsgasten
While Schrader's film was heavily influenced by this I think they're on two completely different pages. For one, this doesn't have a magical mystery tour. Secondly, I'm tired and am gonna go to bed, actually.
almost as impeccable as its progeny first reformed (2017) but alas..,....,..., no pepto-bismol whiskey :(
"Suffering is incomprehensible,
So it needs no explanation."
And neither does this film.
It shouldn't be explained.
It should be experienced.
Possibly Bergman's finest.
A cinematic crisis of faith.
Lying beneath the arches and mosaics of the moderately decorated architecture, the dusty half empty pews, and the flooded natural sun leaking down over the congregation is a clandestine struggle quietly waging war within us. In a Bergman film, this is merely setting the stage.
Winter Light is an example of a perfect film, at least in the Bergman vocabulary sense. For a film designed almost in a theatrical concept for its minimalism, it remains largely cinematic, and achieves a great deal over the course of a hour in real time and only an afternoon in film time. In the space between morning congregation and afternoon ceremonies, the lives of a small group of individuals is tested in the most…
I am going to ramble until I make sense of my thoughts on this:
It is no coincidence, I think, that the one person in this film to have a deeper understanding of Jesus and his own faith does so through open compassion. Algot, who is apparently physically disabled, dismisses the physical pain of Jesus in favor of the spiritual and emotional pain of being abandoned, citing it as the more severe form of pain suffered during the Passion. His insight into Jesus' suffering is in contrast to the faithless and broken Tomas, who has failed (in a manner that is, to me, a personally devastating manner) to reach out with compassion to anyone (in the course of the film).…
As the light reaches in through the windows, those who pray cower in their respective pews. Although the sun shines, everyone understands that the outside world is one of shivering bitterness and modern gasps of fear. Clinging, clinging, clinging to someone who will listen, quietly hoping for a reply within the shattered chambers of the church. The silence gives way to hardened spouts of regret and anguishing periods of hopelessness, but then again, does that even matter when one still happens to listen and the snow continues to descend?
"I am the vine, ye are the branches: He that abideth in me, and I in him, the same bringeth forth much fruit: for without me ye can do nothing." (John 15:5)
Second part of the auteur's trilogy dealing with man's relationship with God. It is literally impossible to relate with this masterpiece's protagonist unless you are a son of God. "But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name." (John 1:12)
What is so absolutely accurate and brilliant about the movie is the fact that it states how agnostics, atheists, etc. lose their credibility in God based on the actions of humans, not…
God is going. Winter Light is a very personal film for Ingmar Bergman, whose father was a priest. It's a very small scale film, even for Bergman, but about the largest of all things: God and creation itself. Made in the 1960s, Winter Light slots into an era when Bergman spent years making thematically connected films, as opposed to the somewhat unpredictable genre jumping of his late 50s output (religious - The Seventh Seal, social realist - Brink of Life, historical - The Magician, sentimental drama - Wild Strawberries). Winter Light is the middle and best of Bergman's Silent God Trilogy (or Faith Trilogy), and grapples with faith on a very powerful individual level.
Scandinavia, like much of Europe, has turned increasingly secular…
In a mere 80 minutes, Bergman fills his audience with more existential nausea than Schrader did with First Reformed in just under 2 hours. Consider this, then note that Winter Light is more than half a century old, and you should end up with the answer on which is the prevailing film. Even so, given how spiritually bonded these two parables are, it’ll be exciting to sit down and double-bill them some day. Gunnar Björnstrand and Ingrid Thulin give the best performances I’ve seen in a Bergman film yet, their crushing portrayals of pastor and parishioner in love against the odds conjuring all the misery one might expect. Few films articulate the weight of authority to this extent, and silence has never felt so deadly.
Local pastor having an existential crisis while simultaneously being an asshole for 80 minutes, a great way to spend your time if you want to feel miserable. Shit rocked
Winter Light is part of Ingmar Bergman's trilogy 'Silence of God' which consist of three films about the crisis of a human's faith; Through a Glass Darkly, Winter Light, and The Silence. In despite of likely I was misunderstood in the order in which I watched it, it's not really matter since each story of the three films doesn't quite relate to one another. Bergman seems to have shifted somewhat from his work of expressionism and surrealism in the 50s to focus on a sequence of dramas regarding to the morality of the faith that explored beliefs and their alienation in modern times, trilogies examining the necessity for religion and questioning the promise of faith.
Winter Light focuses on the…
Openly theological, Ingmar Berman's Winter Light is perhaps the legendary Swedish filmmaker's bleakest film. It's the central passage in what would later come to be referred to as his "Trilogy of Faith", following Through a Glass Darkly and preceding The Silence. Its primary concerns are suicide, physical suffering and harsh Scandinavian winters.
Taking place throughout an afternoon in rural Sweden, as one church service ends and another begins, it accounts a Lutheran pastor named Tomas Ericsson (Gunnar Bjornstrand) undergoing a crisis of faith. The pastor has found the number of his congregation members dwindling until only a few people remain, including Tomas's ex-mistress, Märta (Ingrid Thulin), an atheist who is blindly in love with him.
Scepticism about God's presence is…
Bergman's craftsmanship - his dialogue, his performances, his cinematography - is never shy of masterful, but, based on my impressions of his last few films that I've watched, I think I might continue to hit this 3.5 star roof with him, and here's why: He keeps making religion the heart of his films, but religion without myth. He secularizes christianity in his films, making it little more than a philosophical entity, rather than a transcendent one. I understand this is necessary because what he's really tackling at this point in his career is the war between the rational and the religious, but, as an audience member, I can't help but feel like I'm watching a bird with its wings clipped.…
Rarely does a movie so thoroughly harsh my mellow. The craft is undeniable, but the vibes are a tad bleak for my liking. Hope my second foray into Bergman goes better. I’m gonna go listen to some Sufjan Stevens to cheer myself up
The Criterion Challenge 2021
Progress: 45 of 52
45. Directed by Ingmar Bergman
“If god doesn’t exist, what does it matter? Life has an explanation. What a relief. Death is just a snuffing out, a disintegration of body and soul. People’s cruelty, loneliness, fear. It’s all very clear. Inexplicable suffering needn’t be explained. There is no creator. No sustainer. No thought.”
heavy and austere. i admire ingmar bergman’s ability to pack so much into an 80 minute movie. crisis of faith and existentialism are themes that are always so intriguing to me.
Funny how much from this film Frist Reformed has borrowed. Other films maybe. I guess, this shows how engrossing a priest in existential crisis and his dilemmas are. This is great drama, but I'm starting to feel Bergman is going to be a very difficult watch for me.
A poetic masterpiece.
I don’t remember the exact moment that I lost my faith; there probably wasn’t an “exact” moment if I’m being honest. But I do somehow remember how devastating and confusing and empty it felt, especially being a devoutly religious child and teenager. Damn... Bergman really captured the pain of that experience in 90 minutes here. I haven’t found myself clinging to a film so desperately in a long time.
Every time I watch a new-to-me Bergman, I’m always ready for the let down. Surely I’m going to stumble across something I hate eventually. That moment has not come yet. His movies always resonate so personally and deeply in me. No one writes more cutting, devastating dialogue either.
Special shout out to Ingrid Thulin, you did the damn thing in that monologue.
As I get deeper and deeper into a Bergman’s discography I begin to appreciate his work more and more. While this is probably his weakest film that I have seen there is a lot of great things about it. The cinematography is probably the best out of the films I have seen from him and same with some of the scenes. As you guys probably know I LOVE First Reformed and while I think First Reformed did everything this does but better I still enjoy this a lot but it isn’t as consistent as I would have wanted and that stops me from loving it completely. The acting is top tier as always with Bergman’s films and the existential stuff was done very maturely. Good movie!
"It is not that god is dead but rather he is unconscious. In this way, the only true Christian is the one who does not believe"
-Me paraphrasing more theological psychoanalysis
Pastor’s drip too hard, made me go sheesh🥵😳
Conversinha de padre niilista... vsf Bergman 🖕🏼🖕🏼🖕🏼
Drew 1,000 films
This is the January 2021 edition of the They Shoot Pictures, Don't They? list of the 1,000 greatest films.