While out one evening with his doting girlfriend Simone (Maria Bonnevie), capricious photographer Alex (Nikolaj Lie Kaas) spies a striking young woman on a train platform and immediately ditches his companion to follow the unknown beauty. Tracking her to a bar and striking up a conversation, he learns that the woman's name is Aimee, and that she's in town for her husband August's (Krister Henriksson) book signing. After coyly discussing a mutual desire to escape their unfulfilling lives, the two head back to Aimee's hotel room for a night of intense lovemaking. Yet since Aimee, like Simone, is portrayed by actress Maria Bonnevie, it's apparent that not everything about this encounter is as it seems, a fact confirmed when, the next morning, Alex returns home to find that his apartment no longer exists and no one - not his landlady, his friend, his father, nor Simone - remembers him. Has Alex's newfound love for Simone (who now plans to leave her needy but emotionally withdrawn spouse) magically made the rest of his life's relationships void? Is Aimee a symbolic representation of the qualities Alex finds lacking in Simone? Is the entire film merely the distraught fictional storyline of the scorned August's book?
Continue reading: Reconstruction Review
Bergman showed a penchant for family drama with Fanny and Alexander and Wild Strawberries, among others. He enjoys mixing the imaginary world of his characters with their reality. This can lead to a deeper emotional entanglement with the characters; it's human nature to reflect and react based on internalized stimuli. Unfortunately for Faithless, Bergman is revisiting territory he excelled in some 40 years ago, without shedding any new light on his subjects.
Continue reading: Faithless Review
For any film aficionado familiar with the intimate personal history between late Swedish writer-director Ingmar Bergman and actress Liv Ullman, it's hard to watch "Faithless" without one's mind racing with questions about the autobiographical subtext.
Written by Bergman and directed by Ullman, the deeply intimate film is about Marianne (Lena Endre), a beautiful middle-aged actress subverting her passionate marriage to a celebrated orchestra conductor, Markus (Thomas Hanzon), by beginning an affair with struggling film director, David (Krister Henriksson).
Even more revealing, the catalyst for the story is a series of brainstorming sessions in which a frail, aged director (Erland Josephson) -- not so coincidentally named Bergman -- is working on a screenplay. He imagines long, emotionally charged conversations with Marianne, who joyously rehashes the beginning of the affair and painfully recalls the demise of her marriage.
Continue reading: Faithless Review
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