Encontros Privados

Apart from a couple of long-winded moments and an ending that feels a little forced, this is a most excellent film and very intriguing in so many ways. Long-term Bergman collaborator Sven Nykvist is responsible for the cinematography and every shot and frame has a hauntingly beautiful atmosphere and realism to it that it is almost hypnotising to watch. The director this time round is not Bergman, but Liv Ullman, one of his best regular actresses and among the best that Sweden ever had. The directing is done very intelligently, from collaborating with Bergman for so long there is definitely an influence but it never resorts to imitation. Like Bergman as well, she does a fine job in keeping the characters and situations as compellingly real as possible, whether you're fascinated by or indifferent to them is a matter of opinion. Bergman does have a hand in it, as a writer. The structure is very autobiographical and personal, and it so incredibly honest, often painfully so, and thought provoking. The story is insightful, dealing with complex issues with such realism, and while you mayn't consider the characters likable anybody familiar with Bergman's style and know enough about what he intends in every one of his movies will argue that they weren't meant to be, and I agree. Pernilla August gives a masterful lead performance, she says little but her gestures and expressions really resonate with you, for me in that regard like a female Max Von Sydow. Sydow also stars and I can't find anything to fault him whatsoever, like August he tells much without having to do so verbally. In conclusion, an excellent film and doesn't disappoint in what it promised. 8/10 Bethany Cox

Full of deep, painful but harrowingly rewarding emotions, and a knockout performance by Pernilla August (one of those performers that does so much when seeming to do so little), and reveals Liv Ullmann as a gifted director - maybe she was the only one to direct this, as Billie August did The Best Intentions (and I may possibly, just maybe, prefer this film to Best Intentions, which this is a sequel to), since for Bergman so much is already so personal (the characters are his parents, or versions of them anyway).

But every episode is wholly rewarding, and the moments of sensual tenderness between characters are underlined by how the dialog drives things so fiercely: like the best characters written by Mr. Bergman, these people, especially Anna, Henrik and Tomas, want to find the right path but get corrupted, or just screwed up, by where their hearts lead them. It may also be one of the most mature works by this writer, as the story jumps from episode to episode in time (about five 'confessions'/conversations in all, spanning many years), as we see the bulk of the action take place when Anna had her affair, the fall-out with her husband... and then ten years later (as well as when Anna was 18) when she tells to her Uncle Jacob (Max von Sydow, who is great and who could expect otherwise, especially here as a forgiving but firm minister).

This jump isn't simply to be clever, far from it - we learn along with the characters, and time does change a lot of things. By the end, I looked back on the episodes on Private Confessions as meaning so much, for the drama they went through and that I saw, and even with an ending that appears to be 'happy', there is still a well of anguish that can always be tapped. When it comes to Bergman, by way of his great love and collaborator Liv Ullmann, romance is never, ever easy, especially when some sort of 'God' may be watching and judging. Oh, and having Bergman-regular Sven Nykvist shoot is always welcome (this was the last time he would bring light and dark to his words).

Great acting all the way down the cast list. It's easy to get involved and empathize with the heroine, to care about her and what she's going through. And that, for me, is what makes a movie great.

Great photography, too.

Despite an excellent, unaffected performance by Pernilla August, Private Confessions can't escape its melodramatic premise of adultery and redemption. Written by the King of Existentialism, the film (or shall I say mini-series) is structured along five conversations, though they do not follow any chronology, which has become a cool trick to use for many young screenwriters (fragmented chronology) but Bergman uses it as memory. The writing is as intense and honest as any other Bergman film, but without much plot, tends to be long-winded. Longtime Bergman collaborators Liv Ullman and cinematographer Sven Nyvist focus on close-ups and a stationary camera to get their message across, adding to the lack of mobility in the script. After two hours of Swedish mope (not necessarily a bad thing because where else is it more appropriate) [Sorry Martin!], the wistful ending seems forced. Great scene near the end, though, where a hymn gives way to vomiting. In conclusion, a movie for Bergman fanatics (especially since the story is autobiographical) like me and for people having affairs -- not like me.