Popular reviews

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  Review by Wes ★★★★½ 9

  watching an ingmar bergman movie while you're already in a state of emotional vulnerability is like squeezing lemon juice on your hand thats been bitten off by a shark while youre being set on fire and the shark is coming back for you and he somehow has a gun now

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  Review by Lucy ★★★★ 4

  “come what may, this is happiness”

  grief is so potent. it brings people together with a purpose, some more selflessly than others. and it rips them apart, exposing the truth, however ugly, however foul. bergman always makes me sob

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  Review by kailey ★★★★½ 11

  red is the color of the walls reflected against skin in the candlelight which is the color of blood dripping down your clothes which is the color of your dress as you lean forward with your enigmatic smile which is the color of your anger and your hate which is the color of death which is the color of a small spark between the only two people who can reach out and touch.

  (white is the color of her face as she pleads with her sisters not to leave her alone. white is the color of her dress as she calls them two of the only three people she's ever loved.)

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  Review by liam f ★★★★½ 2

  why be happy when you can watch this film instead

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  Review by Mike D'Angelo ★ 24

  19/100

  Everything I hate about Bergman concentrated into a single film. The dour humorlessness; the mannered performances; the ticking clocks that infiltrate portentous silences with metronomic reminders of mortality; the overwrought arias of verbal cruelty; the expository flashbacks; the random mood swings designed merely to startle...it's as close as he ever came to self-parody, practically as ludicrous as SCTV's Whispers of the Wolf. And then there's the use of red, which to my eyes goes well past bold into laughably garish. (And I suffer from protanopia*, the variety of colorblindness in which red is severely diminished. If that salon looks like an unhosed abattoir to me, I can't even imagine what people with normal color vision experience.) Honestly, if I…

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  Review by Hunter ★★★★★ 6

  You must love the Lord your God with all your heart, and with all your soul, and with all your mind. This is the greatest commandment.

  And the second is like it: love your neighbor as yourself.

  That last bit there, the part about loving the people around you, is the hardest part. Commitment to ideas and to what is perfect, that's one thing. Commitment to broken people, to people who hate you, and to the ones who are painfully furthest away, that is another matter entirely. Love cannot be imposed or expected, but chosen against all the odds. There is a sadly perceptive irony when the nurse Anna is said to have had it easy while caring for the…

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  Review by Barmilliv ★★★★½

  A história do filme se passa na Suécia do começo do século XX, em uma bela e espaçosa casa de campo. Dentro da casa vivem quatro mulheres. Agnes (Harriet Andersson) está gravemente doente e precisa de cuidado constante da empregada Anna (Kari Sylwan). Para ajudar a funcionária, as duas irmãs da doente, Maria (Liv Ullmann) e Karin (Ingrid Thulin), também estão vivendo lá, mesmo que temporariamente. Esse é o mundo de "Gritos e Sussurros", e é nele que Bergman fará um monumental estudo de personagens, analisando o impacto de emoções como dor, ódio, amor, culpa e tantas outras na alma humana.

  A casa de campo, que é apresentada como sendo tão espaçosa, acaba virando um claustrofóbico palco para que os…

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  Review by Sally Jane Black 2

  It amazes me how Bergman recontextualizes the color red. This is not a film fraught with danger, with hellish landscapes, nor a film that is frantic or fiery. It is a film of deep, powerful emotion, but the hue Bergman uses is blood red, a deep crimson that would otherwise suggest horrors. Instead, we get drama. Though there is a hint of supernatural, and though there is a moment of what constitutes Bergman's version of body horror, this film takes the color red and turns it into something other filmmakers would use sepia for.

  It is the color not just of memory, but of emotional moments, and of transition. It takes us from distant memories to the present to not…

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  Review by ben empey ★★★★★ 1

  This review may contain spoilers. I can handle the truth.

  Literally nothing is more relatable to me than saying "it's all a web of lies" and then shoving a shard of glass into my vagina and smearing the blood across my face

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  Review by Hari Nef 1

  when he says he wants a goth gf this is what he means

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  Review by #1 gizmo fan ★★★★½ 6

  really hard for me to watch this. I was stuck with the image of my brother right before he died, especially the moment in the film where all you can hear are the sounds of her in pain. I miss him so much, but I'm so glad I did watch this. bergman is the master of sorrow.

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  Review by noen ★★★★½ 4

  What Ingmar Bergman creates here is surreal, dramatic, tragic, beautiful — he’s a cartographer of the human soul, sketching a map of pain, silence and desire, with coordinates drawn in shades of red, the blood as a pulsation of life and reminder of mortality. Here, the house in which the story unfolds is not only a physical space but a suffocating womb, where memories, resentments and unspoken loves are intertwined in a slow, inexorable dance with death.

  All the figures in this film represent different manifestations of the human soul: selfishness, repression and compassion, respectively. Yet their relationships are not one-dimensional; Bergman never offers such simplicity. Every gesture, every glance is loaded with ambiguity, a reflection of the links between…