AVALIAÇÃO DA IMDb
7,4/10
3,8 mil
SUA AVALIAÇÃO
Uma mulher imaginária recorda a dolorosa experiência do adultério a um narrador.Uma mulher imaginária recorda a dolorosa experiência do adultério a um narrador.Uma mulher imaginária recorda a dolorosa experiência do adultério a um narrador.
- Prêmios
- 8 vitórias e 9 indicações no total
Thérèse Brunnander
- Petra Holst
- (as Therese Brunnander)
Åsa Lindström Hasselblad
- Prompter 2
- (as Åsa Lindström)
Tomas Glaving
- The Student
- (não creditado)
Avaliações em destaque
Scripted by Ingmar Bergman and directed by his protege Liv Ullman, this film is much closer in spirit to Bergman realist dramas of the '70's than to his earlier expressionist work. Many of his characteristic themes are here: the responsibility of artists, and the hopelessness at the heart of modern relationships are prominent.
It's a deeply melancholy film, the only piece of comic relief is a scene where one of the protagonists is rehearsing a play which is hopelessly overwrought: if cinema is Bergman's mistress and theatre his wife, in this case, she's a wild, psychotic spouse. The movie as a whole is deeply theatrical, though, saved from being stagey by a few beautifully poetic cinematic touches. The acting is wonderful, bringing to a well-worn tale a deeply moving grandeur.
It's a deeply melancholy film, the only piece of comic relief is a scene where one of the protagonists is rehearsing a play which is hopelessly overwrought: if cinema is Bergman's mistress and theatre his wife, in this case, she's a wild, psychotic spouse. The movie as a whole is deeply theatrical, though, saved from being stagey by a few beautifully poetic cinematic touches. The acting is wonderful, bringing to a well-worn tale a deeply moving grandeur.
10anikgol
One of the best films I've seen. Liv Ullman does an excellent job directing Bergmans masterpiece of a manuscript. Hollywood has a lot to learn, with their cheesy garbage scripts, Hollywood and this movie represent two different solar systems.
Stunning imagery, great acting, great direction and off course a manuscript that gives you sleepless nights. The actors are very well chosen, the use of light is intelligent and so is the tempo and rhythm of this film.
The viewer is taken to a journey in humanities inner thoughts failures. Suicide and death is relevant as ever to the late Bergman who with his skills takes us through layers and (inner) layers of personalities and feelings these characters have. Feelings of love, betrayal, relationship and co-existence. Each of the characters are dynamic, complex and multi- dimensional and this is again enhanced through the great acting of the actors.
Bravo Bergman and Ullman
Stunning imagery, great acting, great direction and off course a manuscript that gives you sleepless nights. The actors are very well chosen, the use of light is intelligent and so is the tempo and rhythm of this film.
The viewer is taken to a journey in humanities inner thoughts failures. Suicide and death is relevant as ever to the late Bergman who with his skills takes us through layers and (inner) layers of personalities and feelings these characters have. Feelings of love, betrayal, relationship and co-existence. Each of the characters are dynamic, complex and multi- dimensional and this is again enhanced through the great acting of the actors.
Bravo Bergman and Ullman
Not to be an elitist, but no one I know is more familiar with the work and life of Ingmar Bergman than yours truly, so when his latest and long-awaited film, Faithless, was recently released, I was immediately eager to see it. And staying true to his promise never to direct another film after Fanny and Alexander, he couldn't have picked a better director for his script than his protege and long-time colleague Liv Ullman. So, what we end up with in Faithless, is a true-to-form Bergmanesque tale that runs a bit too long and has one too many tragedies.
For the most part, the film is pretty much saved by excellent performances, especially the portrayal of Marianne by Lena Endre. The plot is a tangled web of infidelity and its consequences, punctuated with as much heartbreak, pain and suffering as any Bergman opus, and certainly as much as the average viewer can imagine or tolerate. To be sure, Bergman isn't for everyone. But if you enjoy an occasional catharsis, immobilizing intensity and walking out of the theater thinking your life isn't as bad as you thought it was, this film's for you. For those of you familiar with and amenable to Bergman trademarks, you won't be disappointed. There are plenty of long facial close-ups, monologues, ghosts as figurative demons, and a character that represents Bergman himself. This last feature is one of the machinations I feel we could have done without. It adds a character who is not really part of the plot and does little more than listen. There's also a heaviness to the plot that kind of hits you over the head. Major drama is all right with me, and Bergman is one of the best in that genre, but it was dangerously close to the saturation point of redundance and pretension. Nevertheless, for all you Bergman fans, foreign film lovers and wanna-be celluloid asthetes, you really should add this title to your repetoire. Bergman is truly one of the greatest filmmakers of all time, and considering his very advanced age, this could be his last outing. Then again...
For the most part, the film is pretty much saved by excellent performances, especially the portrayal of Marianne by Lena Endre. The plot is a tangled web of infidelity and its consequences, punctuated with as much heartbreak, pain and suffering as any Bergman opus, and certainly as much as the average viewer can imagine or tolerate. To be sure, Bergman isn't for everyone. But if you enjoy an occasional catharsis, immobilizing intensity and walking out of the theater thinking your life isn't as bad as you thought it was, this film's for you. For those of you familiar with and amenable to Bergman trademarks, you won't be disappointed. There are plenty of long facial close-ups, monologues, ghosts as figurative demons, and a character that represents Bergman himself. This last feature is one of the machinations I feel we could have done without. It adds a character who is not really part of the plot and does little more than listen. There's also a heaviness to the plot that kind of hits you over the head. Major drama is all right with me, and Bergman is one of the best in that genre, but it was dangerously close to the saturation point of redundance and pretension. Nevertheless, for all you Bergman fans, foreign film lovers and wanna-be celluloid asthetes, you really should add this title to your repetoire. Bergman is truly one of the greatest filmmakers of all time, and considering his very advanced age, this could be his last outing. Then again...
10jhclues
Ensconced in the study of his house on a secluded island off the coast of Sweden, an aging director reminisces and reflects on aspects of his life apparently still in need of resolution, in `Faithless,' written by Ingmar Bergman and directed by Liv Ullmann. Bergman is the name of the director, played by Erland Josephson, who engages in a fantasy conversation with a woman named Marianne (Lena Endre), who confesses to him her affair, after eleven years of marriage, with a man named David (Krister Henriksson), the best friend of her husband, Markus (Thomas Hanzon). Through their conversations, as well as scenes depicting particular episodes from her life-- beginning with the initial encounter with David-- we learn the intimate details of Marianne's life, as well as Markus' and their young daughter's, Isabelle (Michelle Gylemo) and, of course, David's. It's an intense, engrossing character study that examines the weaknesses and foibles of human nature to which we are all susceptible. It's a story that is, by turns, grim and thoughtful, at times poignant, while at other moments distressing, as it reflects the myriad emotional levels to which the human condition is prone at any given time. As the story progresses, it becomes impossible to distance yourself from the characters involved in the drama, for there is so much about them with which anyone in the audience will be readily able to identify; not necessarily with the infidelities, but grounded in the choices we all must make throughout our lives and the consequences thereof, and upon which a film like this precipitates rumination. As with all of the films Bergman has written and/or directed during his career, it is a pensive, thought-provoking incursion into reality. As she proved with her directorial debut of the 1997 film `Private Confessions,' also scripted by Bergman, Liv Ullmann is more than up to the formidable task of bringing Bergman's story to the screen. Her style of directing is similar to Bergman's, as could be expected-- their close working and personal relationship has spanned more than thirty years-- but her approach is perhaps a bit softer than his, and uniquely her own. In the final analysis, any similarities are primarily due to the story, which lends itself to the style Bergman perfected and upon which Ullmann certainly draws. It's not so much a matter of imitation as it is of following an intrinsic pattern conducive to the storytelling, and Ullmann has an innate sensitivity to the material that translates into the presentation of the drama and elicits the necessary sympathy and compassion from the audience that enhances the impact of it. Like Bergman, she uses the camera to help capture the sense of the drama visually, which at times creates an almost ethereal, poetic atmosphere that contrasts so well with the more stoic aspects of the story. Ullmann has an excellent sense of rhythm, and the pace of the film allows the viewer time to assimilate the many nuances of emotion expressed through the characters. Lena Endre gives a remarkable performance as Marianne, infusing a passion into the character that makes it ring so true to life, and it's one of the strengths of the film. She bares Marianne's soul, leaving no question as to the inner turmoil with which she must cope, and it reflects in Bergman's character as well; through her struggles we also feel the remorse of Bergman's character, and upon reflection it makes you realize how effective Josephson is in the role of Bergman. For it is in his subtle reactions to the phantom Marianne, and in his silent ruminations, that we learn so much about all that has transpired in their lives. Henriksson gives a notable performance as well, deftly exposing the complexities of the character that lie beneath the somewhat reserved exterior of the man, while Hanzon is effective as Markus, as is Gylemo as the young Isabelle. With `Faithless,' Ullmann firmly establishes her mark as an artist of extraordinary vision and sense of reality. Her collaboration with Ingmar Bergman is a cinematic triumph, and we can only hope that there will be more to follow, for with every film they make, another chapter is written in the Book of Life. I rate this one 10/10.
The performance by Lena Endre was the best I have seen this decade. And the facial nuances of Erland Josephson were superior as well. All in all, the acting surpassed the totality of the movie per se; but, still this is a movie well worth seeing. I wish the US would produce films like this.
Você sabia?
- CuriosidadesThe story is loosely based on experiences of adultery from Ingmar Bergman's own life.
- Trilhas sonorasSymphony No. 5 in B-flat major WAB 105 IV. Adagio - Allegro moderato
Written by Anton Bruckner
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- How long is Faithless?Fornecido pela Alexa
Detalhes
- Data de lançamento
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- Também conhecido como
- Faithless
- Locações de filme
- Empresas de produção
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Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 739.055
- Fim de semana de estreia nos EUA e Canadá
- US$ 29.462
- 28 de jan. de 2001
- Faturamento bruto mundial
- US$ 918.033
- Tempo de duração2 horas 34 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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