For more than 50 years, Ingmar Bergman produced groundbreaking works of cinema that established him as one of the world's acclaimed, enduring and influential filmmakers.
The Silence (1963) The final film in Bergman's religious triptych proved the most controversial, despite its narrative seeming more removed from direct questions of faith. Sisters Anna (Gunnel Lindblom) and Ester (Ingrid Thulin), along with Anna's young son, break their train journey in a foreign city because of Ester's ill health. The local language feels incomprehensible, the country seems on the brink of war and the hotel they reside in becomes the locus of sexual tension, humiliation and mortal anxiety. God, as the title suggests, is not even an absence in this desolate landscape.
All These Women (1964) Bergman's first colour film brings together his favourite female leads in an ensemble satire that pokes fun at the vanity of artists and those who enable their pomposity. The women are the lovers of a lauded cellist, Felix, with whom they share a grand country estate and carefully divide his time between them. Having both indulged and infantilised Felix, they then set about humiliating a pretentious music critic who comes to visit - a narrative strand that the director seems to enjoy almost as much as his fictional harem.