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For the French director Bertrand Tavernier, Ingmar Bergman "was the first to bring metaphysics to the screen: religion, death, existentialism, but the best thing is the way he talks about women, the relationship between men and women.It is like a miner who digs in search of purity. "
His words speak of the permanence of the bands of the Swedish creator, whose centenary is commemorated today. These are movies like The Seventh Seal, Wild Strawberries, Person, Life of Puppets and Fanny and Alexander among others. Its impact on several generations speaks of the power of a classical filmmaker. Then, the creators of different disciplines speak of the man who said, "In truth, I live continually in my dream and I make visits to reality."
Katinka Faragó, collaborator of the filmmaker. He is the best director in Sweden and one of the biggest in the world. He is compared to Fellini and Kurosawa; It's in the field of these people. He always knew exactly what he was doing and why he was doing it. It was hard and sometimes it was terrible for me, but he asked me to forgive him and wanted him to be with him in the next movie. So it was good and bad to work with him. He was absolutely perfectionist. It was someone who was preparing things a lot. Bergman hated improvisation. He used to talk about Picasso's bulls, which he had first painted anatomically correct and after doing so many times that he could make a bull with just three strokes . That's how Bergman improvised.
Maria Sveland, journalist and narrator. He made women suffer, but in his films he wrote great characters for them. If I were an actress, I would like to make one because they are complex and interesting. They say that women changed when they worked with Bergman. He had something special, but he could also be very mean to them, and I know many people who worked with him. There are actresses who can tell you a lot of stories about how bad he might be when he directed, but he was also generous. It was as if with one hand I slapped you and on the other a caress.
Nelson Carro, film critic. Bergman is one of the great cinematographic thinkers. I believe that his reflections on life, death, God and human relations, among others, are fundamental to understanding oneself. It's a filmmaker who, in the theme, has touched all the worries that a human being may have.
Hernán Lavín Cerda, writer. Bergman is always very confrontational, immersing himself in the human condition and in his greatness. He was marked by his time, when the world was out of World War II and still with the ghost of an atomic war. I was very deep in the human condition. In his films, there was always a lot of chiaroscuro, and often more black than light.
Giuseppe Amara, psychiatrist and psychoanalyst. His film is personal, intimate, which reveals to humanity characters sometimes singular, sometimes common. Bergman knows very well human life on a radical level. This is not an escape cinema and the movies do not want to represent topics that stimulate or please the subject, but on the contrary: they invite him almost to a psychoanalytic session. When he puts characters in his films that are psychoanalysed, it's amazingly real. It is also acute and radical in terms of beliefs; I was skeptical in this area. It's a man of realism that strips the human being as he is.
Irasema Terrazas, soprano. Bergman's cinema – drawn from an opinion of Villamelon as mine – is slow, analytical, profound, with very strong psychological veins. Who would be Bergman's today? I do not know if there are writers who will mark in a particular way the history of cinema as he did in his day.
Margie Bermejo, singer. His cinema is like a psychoanalysis: it penetrates deeply into the human soul, its recesses, its confusions, its passion and the reality of love feelings, such as the couple, the waiting, the patience and the the fear. Solitude always present in the color and silence of its actors.
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