“Ingrid Bergman: In Her Own Words” is a loving tribute to the late, great Swedish actress told almost entirely from her perspective. Bergman brought her 16mm camera with her everywhere, and the years of footage she accumulated form the majority of the film’s images. Similarly, director Stig Björkman uses Bergman’s recorded interviews and letters to friends, read by Alicia Vikander, to narrate the film. Starting with Bergman’s childhood, most of which was spent with her father as her mother died when Bergman was still young, and ending with her final film project, Björkman gives a straightforward account of Bergman’s life, in chronological order.
Film Reviews
Here you will find every film review we've written. These include: festival films, new releases, and older films.
Experimenter‘s experiments don’t succeed
Michael Almereyda’s Experimenter pulls from theatrical conventions — creating two-dimensional backdrops and breaking the fourth wall — to depict a landmark psychological experiment: In the 1960s, Stanley Milgram (Peter Sarsgaard) conducted experiments on obedience in an effort to understand the obedience and conformity of the Nazis in the Holocaust.
Schneider vs. Bax is a masterful black comedy
In Schneider vs. Bax, the tension is always high, but there’s less of van Warmerdam’s characteristic black humour.
Barbet Schroeder’s Amnesia reckons with Germany’s holocaust guilt
Barbet Schroeder’s Amnesia is the latest in a series of recent films about whether Germany has reckoned with its past from World War II. Set in the early 1990s at another pivotal point in German history, the film looks back into the past through its protagonist Martha (Marthe Keller) and her interactions with other Germans. Rather […]
My Internship in Canada is a smart farce
We review Philippe Falardeau’s hilarious political satire My Internship in Canada, which was selected as one of Canada’s Top Ten Films of 2015. Read our interview with director Falardeau here.
Crimson Peak is a loving homage to the Gothic
“Crimson Peak” is a sensory feast rather than a character drama. In this, the film takes its cue from the mechanics of gothic literature, which is less about plot and more about atmosphere. Gothic imagery is always over the top, with themes literalized and cranked up to eleven. The film’s luxuriant costumes exemplify this extravagance. The innocent Edith has golden hair and wears billowing virginal white, whereas Lucille’s red satin gown calls to mind a freezing Elizabeth Bathory, ready to prey upon her sister-in-law. Our eyes linger on their rich textures and theatrical shapes.