Bergman Island

It is for the best that Bergman is immediately invoked by both the title and the setting, from there they can play around with those classic Bergman themes without it surprising the audience which could be a bit of a disaster. Ultimately it's a bit thin on resolution but still I appreciate the ambition.

This is one I would never have watched because of the title - I've no interest in watching any Bergman films and I'm afraid this one just gets tarred with the same brush. However, now I know it's got some ABBA in it, I'm approaching it with slightly more enthusiasm. But not loads... The film follows Tony (Tim Roth) and Chris (Vicky Krieps) as they decamp to Fårö (which is, unsurprisingly, the island where Ingmar Bergman lived) for the summer in order to do various film related stuff, including working on screenplays for their next films - Tony is racing through his screenplay and really inspired whereas Chris is really struggling. So we then spend a considerable amount of time watching Chris's screenplay - which seems pretty fully formed to my untrained eye, but it's also not particularly interesting. Although one of her characters does go on an amusing anti-Bergman rant ("Maybe three critics thought he was amazing, but there's a world outside your own asshole. Fuck Bergman!"). But when I say a considerable amount of time, I'm not kidding - there's not far off an hour of the film spent dipping in and out of it. However, interestingly, towards the end of the screenplay, one of the people that Chris met earlier "in real life" appears - fictional real life begins to blur with fictional fiction and my head begins to hurt. And then, right at the end, things get even more weird - all of which left me feeling very lost and turned what was a reasonably straightforward but dull film into a confusing but dull film. I'm not sure whether that's an improvement or not - I think it probably is because I was somewhat intrigued by my confusion. It's somewhat surprising this is the second Tim Roth film we've met (and Reservoir Dogs was only done as a one-off special) but the third Vicky Krieps film (after The Phantom Thread and Corsage) - and Vicky has a far bigger role in both her previous films than Tim has in his. But I like them both in this and they're pretty relatable (they certainly have very relatable arguments!), even if they're not the most lovable of characters (and somewhat obsessed with Bergman). I also thought Mia Wasikowska did a good job as Amy, the lead character in Chris's screenplay - it's the first time we've met her but it's the second time we've met Anders Danielsen Lie who gets to play a bit of an asshole (again!). It's very beautiful to look at - all Scandinavian cottages and windmills in the sunshine with some gorgeous landscapes (although I didn't envy Vicky and the characters in her film diving into the sea). It's competently filmed with a minimum of tricks - nothing particularly impressive to write home about in my opinion but I did read a review that said it was written in a way that male critics wouldn't understand it, so I guess that's me told. I feel it's trying to make me think about things, but I'm not really sure what things - maybe it's a rumination on the nature of obsession (or maybe fandom would be a better turn of phrase), but I'd have to say I'm not convinced. I'd also say that everyone is very, very earnest in this except for Chris (who often seems pretty lost and miserable) - I can't say it's made me any keener to watch any Bergman films. And the Bergman safari that Tony goes on looks to be the dullest thing imaginable. I didn't hate this, but I wasn't exactly grabbed by it - it feels like a film designed for the critics to love and, in Empire's case, they very much did. And I'm quite surprised The Guardian didn't - only three stars from them and I actually agree with a lot of their comments. Under normal circumstances I've had deserted this way before the end but I'm glad I stayed because the final weirdness did make me think a bit more about it. But only a bit and it's just a shame I didn't come to any particular conclusion. At time of writing, it's available to stream on MUBI or to rent in all the usual places, but I'm not sure it will appeal to all that many people - sorry Empire, but this was a miss for me.

Charming and challenging.

A couple (Vicky Krieps & Tim Roth) retreat to the island where great director Ingmar Bergman lived and received much inspiration for his work. Although it's never directly stated, it's clear this couple (both screenwriters) is looking for inspiration too, particularly Krieps. The film follows them in a somewhat ambling manner as they explore the island, both together and apart. Their marriage feels a bit that way too; sometimes the two are walking together in general equanimity and other times, you can feel some resentments brewing. Is there some professional resentment there? Roth is older and more "successful" it would seem. Is Krieps, with her minor writers block, stewing at the relative ease with which Roth creates? Are there also personal resentments there? As we go through the film, we get answers to some of this and much remains up to us. It doesn't sound like much a plot to hang a movie on, but mid-way through the film, it takes a turn that makes some sense but is completely unexpected. Just in case you were starting to wonder where all this might be going, your interest is re-ignited at just the right moment. I won't say more, because I managed to avoid spoilers before watching, and that helped my enjoyment. The other thing that makes the film worthwhile is a really stellar performance from Vicky Krieps. All the major roles in the film are well handled (many minor roles are played by island residents, and it kinda shows), but Krieps is the one you can't look away from. Her character goes through the most complex journey and she handles it all well. I also like how arguments in the film are handled. Roth & Krieps often get along well and have an easy comradery; but they also are often not on the same page. But their fights are low key, and sometimes sort of stop and just simmer for a bit. And then maybe they just peter out rather than coming to a boil. It gives the film a convincing tone. (And the scenery of the island, though a bit stark, is lovely too.) There is A LOT in the film about Bergman. The residents of the island are all experts on him. A film festival in his honor is held there. The film is steeped in Bergman. Which immediately begs the question: In order to enjoy the film, must one be well-versed in Bergman? I am not, myself. I'm aware of his work, of course, and as a major film buff, I know his work is one of my gaps, I fully acknowledge. So I have a vague awareness of the kinds of films he made. But that's about it. And I enjoyed BERGMAN ISLAND despite my Bergman blank spot. I'll add further that the Criterion Blu-Ray of the film is top notch (if that's your viewing method). The film itself looks great, with just the right amount of grain to make the whole thing sparkle. And the extras are interesting and entertaining too. Good interviews and insights. And interesting to learn about how the film was made over two summers. Knowing that (after watching the movie) actually made my feelings of a few scenes evolve a little. Clearly, this is not a film for a mass audience. I frankly can't imagine someone who isn't a fan of "cinema" enjoying it. Slow moving. Most of the action of the film is internal. It's quiet. It's "artsy." It requires sub-titles (yes, it's mostly in English, but I needed them to really understand what many of the Swedish actors were saying). But it's a rich and satisfying entertainment nonetheless.

Detached rubbernecking at the charmed lives of the European creative class. The "too cool for school" atmosphere and the hot-and-cold approach to sentimentality makes the plot exhausting to engage with, despite it's relative simplicity, and the rare moments of humour sometimes feel like unendearing in-jokes. The film is competently directed and the location is gorgeous, but this does little to mitigate the lack of substance.

This film is so good. A great film about the juxtaposition of your heroes and your partners. Who you truly know and who you are wishing you loved the way you love people you've never met.

This is a movie that takes itself too seriously and not the consumer. One can not get invested in the characters or plot, the photography doesn't even capture what is suppose to be beautiful.

Overall, this film is filled with wonderful visuals and realistic performances from its leads, Tim Roth and Vicky Krips.  Bergman Island is packed with many themes, which are displayed perfectly.  It's a slow-paced film with moments and outcomes that will be subjective.  The film's second act and the ending has left me thinking deeply and processing the entire heartfelt, symbolic journey.  It's a well-made film, but I can't deny that I don't feel it's going to be everyone's taste given the kind of story, messages, and slow dramatic pace.

As the movie within the movie within the movie develops, your enjoyment will largely depend on how hard you want to work. I wasn't in the mood to take an exam, so while it's beautiful, it's also another example that you need a script. And isn't that the irony of all ironies. A film about well you know, has a lot of filler and not enough meat on the bone. The performances are worthwhile, but characters disappear and then show up in another place which is ultimately confusing. Final Score: 5.8/10

This is quite a solid, thoughtful film, with a real holiday/escapist feel to it. I liked the main performances and I liked that its essentially a story within a story, with the lady telling her idea for a potential film, to her husband, who is a successful director. I liked that it has a laidback feel, almost like the TV series (or film, if your in the US and saw the theatrical version) of the 'The Trip' series with Steve Coogan and Rob Brydon. I enjoyed this and would certainly recommend it, especially if your a fan of Bergman's work, as while this isn't all about Bergman per se, it may interest fans for the various inevitable Bergman references.