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Passione

Titolo originale: En passion
  • 1969
  • VM14
  • 1h 41min
VALUTAZIONE IMDb
7,6/10
10.988
LA TUA VALUTAZIONE
Passione (1969)
A recently divorced man meets an emotionally devastated widow and they begin a love affair.
Riproduci trailer1:48
1 video
70 foto
Dramma

Un uomo divorziato di recente incontra una vedova emotivamente traumatizzata, ed insieme incominciano una relazione amorosa.Un uomo divorziato di recente incontra una vedova emotivamente traumatizzata, ed insieme incominciano una relazione amorosa.Un uomo divorziato di recente incontra una vedova emotivamente traumatizzata, ed insieme incominciano una relazione amorosa.

  • Regia
    • Ingmar Bergman
  • Sceneggiatura
    • Ingmar Bergman
  • Star
    • Liv Ullmann
    • Bibi Andersson
    • Max von Sydow
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,6/10
    10.988
    LA TUA VALUTAZIONE
    • Regia
      • Ingmar Bergman
    • Sceneggiatura
      • Ingmar Bergman
    • Star
      • Liv Ullmann
      • Bibi Andersson
      • Max von Sydow
    • 58Recensioni degli utenti
    • 22Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 3 vittorie e 7 candidature totali

    Video1

    Trailer
    Trailer 1:48
    Trailer

    Foto70

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    + 64
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    Interpreti principali18

    Modifica
    Liv Ullmann
    Liv Ullmann
    • Anna Fromm…
    Bibi Andersson
    Bibi Andersson
    • Eva Vergérus…
    Max von Sydow
    Max von Sydow
    • Andreas Winkelman…
    Erland Josephson
    Erland Josephson
    • Elis Vergérus…
    Erik Hell
    Erik Hell
    • Johan Andersson
    Sigge Fürst
    Sigge Fürst
    • Verner
    m. fl.
    Ingmar Bergman
    Ingmar Bergman
    • Narrator
    • (voce)
    • (non citato nei titoli originali)
    Britta Brunius
    Britta Brunius
    • Woman in Dream
    • (non citato nei titoli originali)
    Lars-Owe Carlberg
    • Police Officer
    • (non citato nei titoli originali)
    Malin Ek
    Malin Ek
    • Woman in Dream
    • (non citato nei titoli originali)
    Barbro Hiort af Ornäs
    Barbro Hiort af Ornäs
    • Woman in Dream
    • (non citato nei titoli originali)
    Svea Holst
    • Verner's Wife
    • (non citato nei titoli originali)
    Marianne Karlbeck
    • Woman in Dream
    • (non citato nei titoli originali)
    Annicka Kronberg
    • Katarina
    • (non citato nei titoli originali)
    Hjördis Petterson
    Hjördis Petterson
    • Johan's Sister
    • (non citato nei titoli originali)
    Brian Wikström
    • Police Officer
    • (non citato nei titoli originali)
    Brita Öberg
    Brita Öberg
    • Woman in Dream
    • (non citato nei titoli originali)
    • Regia
      • Ingmar Bergman
    • Sceneggiatura
      • Ingmar Bergman
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti58

    7,610.9K
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    10

    Recensioni in evidenza

    Ben_Cheshire

    Mockumentary scenes to pull you out of a Bergman film... Just what we didn't ask for.

    Disappointing after Shame, which was near-perfect. Clearly an experiment to break the third wall in a Bergman film, just not at all something I wanted from a Bergman film. I like to be completely absorbed in the reality of the situation. An improvised dinner-party scene where the actors bandy about miscellaneous pretentious ideas, mockumentary moments where "Liv Ullman" and "Max von Sydow" are interviewed about the characters just didn't work for me. I had to turn it off. Will try again at a later date maybe, but I've only just started finding Bergman films I love, this was not a good choice...

    There were scenes I liked, but then I'd get dragged out of the spell by the mockumentary scenes, very strange.

    4/10
    8Xstal

    Ever Increasing Whirlpools...

    If you take a shovel, and dig right into the middle, there are things you'll likely find, quite impossible to riddle, conundrums wrapped entwined, blind alleys, sacs that bind, confusion, chaos, mayhem all well signed; encompassing them all, is the fear of standing tall, of being seen to fall, of rejection all around, the desire to be found, the need to melt into the ground, just to live as if not bound; but you're moulded in their vision, taught to be so since incision, told what, where, when, who you are, plasters, shields overlay scars, behaviours born from who knows where, send your chaos to despair, no support for your constructions, can relieve these sad contortions.

    If you don't recognise something in them in you, you're in denial.
    10Jeff-370

    It's wonderful to see a film made with such care

    This is par for the course with Bergman, though. I have enjoyed all of his films that I've seen, which I admit is not many. This one touched me even more deeply than the others.

    The topics touched on in this film include isolation, truth in relationships, mob mentality, but most importantly isolation from an emotional point of view. The interviews with the actors that are spliced into the film provide insight as well as divisions between sections of the narrative.

    Perhaps what I liked best, however, is the inventive way the script reveals elements of the story. Sometimes a voice-over provides necessary information, and other times the information comes through the characters' conversations -- but never in an annoying "quick exposition" kind of way. For example: Although the affair between Anna and Andreas is the central story, it shows up in an odd place in the film.

    But that is just one of the examples of the unusual construction that makes this film so unique and masterful. I recommend this to anyone who can read subtitles.
    9RG-5

    Passion's masterful conclusion

    "A Passion" is one of Ingmar Bergman's underrated classics (inaccurately titled "The Passion of Anna" in the U.S.) and includes one of cinema's great movie endings. "Identity" is one of the primary themes of the film, and the film concludes with Max von Sydow's broken Andreas pacing back and forth in the frame--in an empty, bleak landscape. As the camera pulls back, Bergman (or rather, Nykvist) optically moves in--creating an effect where the image "flattens out" and Andreas literally dissolves into the grain of the film. Brilliant!
    msultan

    My First Bergman

    Bergman is a name one hears so often, and it is so associated with slowness and close-ups that he's intimidating even before one gets to watch him. I picked this movie off the shelf just as I could have picked any other of his movies, and since I haven't seen others, I wouldn't know how to compare this to the rest of his work.

    But I liked it, I really liked it. I didn't find it as 'slow' as much as 'focused,' where even the twitch of an eyebrow or a glance to the left is an action. This minuteness was truly amazing. In a lot of ways it reminded me of Bresson's Journal of a Country Priest. Because of this minuteness, I also found it very cruel and raw. I am particularly thinking of the scenes with the animals (not only the sheep, but the dog as well, and especially the bird).

    And I have to say something about the colors. They were amazing, so warm and so different from the narration, which was in itself detached and indifferent (maybe 'disinterested' is a better word). The light was amazing (like what seemed like an eternal sunset when Eva and Andreas have dinner). If this were a painting I suppose it would be realist or naturalist work, but the way the interviews cut in make it hyper-realist. Other reviewers have criticized this but I found it as adding depth to the characters, because it gave them a new, real, life.

    The English title is misleading though, because it forces the viewer to focus on Anna, whereas the original title doesn't do that. I found myself waiting for things to happen to Anna until I found out that there was no reason for that to happen.

    I am very happy to have seen this, and will definitely not shy away from watching more Bergman movies.

    Altri elementi simili

    La vergogna
    8,0
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    L'immagine allo specchio
    7,5
    L'immagine allo specchio
    Il silenzio
    7,7
    Il silenzio
    Un mondo di marionette
    7,2
    Un mondo di marionette
    Il volto
    7,5
    Il volto
    L'ora del lupo
    7,5
    L'ora del lupo
    Come in uno specchio
    7,9
    Come in uno specchio
    Alle soglie della vita
    7,3
    Alle soglie della vita
    Il rito
    7,0
    Il rito
    L'occhio del diavolo
    7,1
    L'occhio del diavolo
    Sussurri e grida
    7,9
    Sussurri e grida
    Luci d'inverno
    8,0
    Luci d'inverno

    Interessi correlati

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    Dramma

    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      This film, commonly known as "En passion" (or "The Passion" aka "The Passion of Anna"), has an actual on-screen title of "L 182".
    • Citazioni

      Anna Fromm: Andreas, we should travel somewhere. We should get away from here. I know it would be good for us both.

      Andreas Winkelman: When you speak of traveling, I really want to say yes.

      Anna Fromm: What are you thinking?

      Andreas Winkelman: That we can speak to Elis. He can lend us money. But at the same time a wall appears. I can't speak. I can't show that I'm happy. I can see your face, I know you're you, but I can't reach you. Do you understand what I mean?

      Anna Fromm: I understand what you mean. I understand very well, Andreas.

      Andreas Winkelman: I'm on the outside of this wall. I put myself on the outside. I fled and now I'm so far away.

      Anna Fromm: I understand, Andreas. I understand how strange it seems.

      Andreas Winkelman: Yes, it's strange. I want to be warm, tender and alive. I want to break free. You understand, don't you?

      Anna Fromm: It's like a dream. You want to move, you know what to do, but you can't. Legs are impossible and arms heavy as lead. You want to speak, but you can't.

      Andreas Winkelman: I'm terrified of being humiliated. It's constant misery. I've accepted the humiliation and let them become part of me. Do you understand what I mean?

      Anna Fromm: I understand what you mean. I understand you.

      Andreas Winkelman: It's terrible not being fortunate. Everybody thinks they have the right to decide over you. Their benevolent contempt. A momentary desire to trample something living.

      Anna Fromm: I understand, Andreas. You don't need...

      Andreas Winkelman: I'm dead, Anna. No, no, I'm not dead. No, that's wrong. Too melodramatic. I'm not dead at all. But I live without self-respect. I know it sounds silly - pretentious - since almost all people are forced to live without self-worth. Humiliated to the core, stifled and spat upon. They just live. They know nothing more. They know no alternative. Even if they did, they would never reach for it. You understand? Can you be sick from humiliation? Is it a disease we're all infected by and we have to live with? We talk so much about freedom, Anna. Isn't freedom a terrible poison for the humiliated... or is the word "freedom" only a drug the humiliated use in order to endure. I can't live with this. I've given up. Sometimes it's almost unbearable. The days drag by. I feel like I'm choking on the food I swallow, the crap I get rid of, the words I say. The light - the daylight which comes every morning and yells at me to get up. Or the sleep which always brings dreams, chasing me back and forth. Or just the darkness rattling with ghosts and memories. Has it occurred to you, Anna, that the worse off people are, the less they complain? Eventually they're silent... even though they're living creatures with nerves, eyes and hands. Massive armies of both victims and executioners. The light which rises and sinks heavily. The cold approaches. Darkness. The heat. The smell. And everyone is silent. We can never leave this place. I don't believe in escape. It's too late. Everything's too late.

    • Versioni alternative
      The Criterion Collection DVD and Blu-ray have the additional opening Criterion and Janus Films logos plus the 2016 restoration disclaimer.
    • Connessioni
      Featured in Liv Ullmann scener fra et liv (1997)
    • Colonne sonore
      Always Romantic
      Performed by Allan Gray

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    Dettagli

    Modifica
    • Data di uscita
      • 16 settembre 1970 (Italia)
    • Paese di origine
      • Svezia
    • Lingua
      • Svedese
    • Celebre anche come
      • The Passion of Anna
    • Luoghi delle riprese
      • Fårö, Gotlands län, Svezia
    • Aziende produttrici
      • Svensk Filmindustri (SF)
      • Cinematograph AB
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo in tutto il mondo
      • 1814 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 41min(101 min)
    • Colore
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.66 : 1

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