All my works are actually based on childhood impressions, - confessed the famous Swedish director Ingmar Bergman. The holder of three Oscars, awards from the Venice, Cannes, and Berlin film festivals, - he exorcised the demons of his childhood through...
creativity - jealousy and suspicion, fear and longing for a parental home full of repressed desires. Theater and cinema provided the opportunity for transformation, rapid changes of masks, a retreat into a magical world of fantasy: can such a game heal the artist? Whispers and Cries of My Life, in the original - Laterna Magika - is a candid autobiographical essay in which memories of nearly sixty years of active creativity in film and theater intertwine with reflections on the nature of human relationships, art, and faith; this is the backstage of passions and searches, doubts, disappointments, love, and betrayal. Bergman dissects the viewer's soul with the bloodthirstiness of Jack the Ripper and the caution of a surgeon, naively trusting the director. His task is to renew it, cleansing it of vice. But Bergman's own life was not so ideal: it contained doubts, temptations, and irreparable mistakes. It is these twists of fate that Ingmar tells about.
All my works are actually based on childhood impressions, - confessed the famous Swedish director Ingmar Bergman. The holder of three Oscars, awards from the Venice, Cannes, and Berlin film festivals, - he exorcised the demons of his childhood through creativity - jealousy and suspicion, fear and longing for a parental home full of repressed desires. Theater and cinema provided the opportunity for transformation, rapid changes of masks, a retreat into a magical world of fantasy: can such a game heal the artist? Whispers and Cries of My Life, in the original - Laterna Magika - is a candid autobiographical essay in which memories of nearly sixty years of active creativity in film and theater intertwine with reflections on the nature of human relationships, art, and faith; this is the backstage of passions and searches, doubts, disappointments, love, and betrayal. Bergman dissects the viewer's soul with the bloodthirstiness of Jack the Ripper and the caution of a surgeon, naively trusting the director. His task is to renew it, cleansing it of vice. But Bergman's own life was not so ideal: it contained doubts, temptations, and irreparable mistakes. It is these twists of fate that Ingmar tells about.
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