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Ingmar Bergman (Upsala, Sweden, 1918) does not disappear from the screen. It's as if his cinema was inherent in the big format. The projection rooms do not forget it and no longer the contemporary students of the cinema, nor the cinema festivals of all the prestige and the latitudes; much less when there is an excuse to consult his work as part of the centennial of his birth.
Everyone wants to take part in this series of celebrations to appreciate, approach, re-discuss the film heritage of the exalted as one of the twentieth century's fundamentals, in the same pleiad of surnames Kurosawa, Fellini or Buñuel. In Mexico alone, various institutions collaborated to carry out a vast program of celebration for the responsible person (1966).
The Cineteca Nacional, the Cinemex channel, the Ingmar Bergman Chair and the Swedish Embbady in Mexico present a retrospective, in various places and until next November, with the 10 emblematic films of the Swedish director, including Otoño Sonata (1978), Strawberries Salvajes (1957), Un verano con Mónica (1953) and El séptimo sello (1957); commented by critics, filmmakers and historians like Edouard Waintrop, Carlos Reygadas, Daniel Giménez Cacho and Fernanda Solórzano. In addition, as part of this initiative, the University Museum of Science and Arts (MUCA) will host, from August 28, the exhibition Ingmar Bergman and his legacy in fashion and art, currently exhibited at the Museum of the City of Queretaro
The Guanajuato International Film Festival, has announced that in its XXI edition, from October 20 to 29, will integrate in its activities the program "Summer with Ingmar Bergman", with screenings of feature films and the Bergman Conference in Contemporary Cinema
Why always return to Bergman
Throughout his film career, between 1944 and 2003, Ingmar Bergman made 45 films and wrote more screenplays, both for his films and for those of other directors.
His first feature film as director was Crisis, in 1945, at the age of 28. Since then, he has started filming an average of two films a year. International recognition came in the 1950s with films such as Sonrisas de una noche de verano (1955), with which he received the prize for best poetic humor at the Cannes Film Festival. A year later, he again triumphed with The Seventh Seal, when he won the Special Jury Prize.
He also won three Oscars for Best Foreign Language Film for Wild Strawberry Strips (1957), Like in a Mirror (1961), and Fanny and Alexander (1982). But he was also a prolific playwright with more than 100 plays directed, not to mention his projects for television in the last years of his life.
His cinema uses themes such as death, baduality and religion, which are born in the fears of a difficult childhood. He took one of his influences on German Expressionism and reproduced the abundant chiaroscuro and close-ups, so much so that the faces were the main axis of aesthetics in all of his movies.
Wes Anderson was referring in an interview to documentarian Jane Magnusson the word "comedy" is not the first thing that comes to mind despite Bergman. "He is one of those filmmakers who can make a film without including a single joke and the film does not suffer."
It's the genius of the seventh art that has influenced filmmakers as different from him as Stanley Kubrick, Steven Spielberg, Francis Coppola Ford, Lars von Trier or the same Woody Allen, who has repeatedly made public his admiration for Ingmar Bergman to the point of considering him even as "the best director of all".
Main filmography
- 1946 – It's raining on our love
- 1947 – Woman without a face
- 1948 – Eva
- 1949 – Prison
- 1951 – Summer Games [19659014] 1953 – A summer with Monica
- 1956 – The seventh seal
- 1957 – Wild strawberries
- 1959 – The source of the girl
- 1961 – As in a mirror
- 1961 – The Garden of Delights
- 1966 – Person
- 1980 – From the Life of Puppets
- 1982 – Fanny and Alexander
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