Husband and wife, both film directors, Travel together to residence to work on something new. Their daughter was placed with relatives. It’s full of ideas, she has a meltdown. He writes, being late, watching his daughter’s video, lounging around the man, defiantly, in underwear and unbuttoned blouse. He, annoyed by his work, searches: “Are you looking for something?”
There is something classic about it, the issue that Mia Hansen Love raises in her new film, that of male creativity versus female creativity. To the stereotype, if not for the title of this movie bergman island, Indeed, on the island where the famous Swedish director Ingmar Bergman worked, lived and died. This context elevates the film to the level of a meta-narrative, which is too ironic to be a statement, too charged to be just a relationship drama.
Then there’s also information notable from the package insert. It is not necessary to be able to appreciate the value of the film, but to be able to interpret it. The director wrote her film right after her split from the older, perhaps more famous director Olivier Assayas, with whom she had a daughter, and with whom she made interesting films for “women” such as Clouds Sils Maria With Juliette Binoche and personal shopper, With Kristen Stewart.
Hansen Love got to know him when she first appeared in one of his films as a seventeen-year-old girl. Assayas at that time was 43 years old, and two years later she had another role in his film, The Two Lovers. What can you say, except that it is clearly the case with the tough guy and the ambitious girl. There is something bleak about the predictability of this, but in human terms, you have to keep the possibility that both parties will benefit from such an unequal relationship. At best – and this applies to Hansen-Løve – it produces interesting art.
In two of her previous films, Un amour de jeunesse (2011) and L’Avenir (2016) She reflects penetratingly, not poignantly, about love at the different stages of a girl/woman’s life. One movie is a sad recapitulation of Camille and Sullivan’s intense teenage love. When Sullivan travels abroad and nothing is ever heard of her, Camille slowly regains her confidence through the attention of a man much older than her. Hansen Love is a star in explaining in the small scenes and subtle dialogues, that when the boy returns, he has no idea how much he betrayed his first love in her eyes, and how much it’s over, gone for good. How sad this realization is.
Then this other movie, L’Avenir Thus, Isabelle Hubert shines as an aging philosophy teacher who has to adapt once again to her time. Her books are no longer published, her husband leaves her, and her courtship with one of her students turns out to be more confrontational than reassuring. I know people (and) who can’t handle the movie, I’ve seen it myself four times, and a fifth is on the way.
Bergman Island fit the chain, But it is more confusing. In a nice way, by the way, there are shots in the movie that instantly make an impression, and stick with you, precisely because what you mean is not so straightforward and simple. It’s about the frame story that the movie also represents, which includes leaps in time, switching between what is “really” happening and what is being visualized. and then, above it, The film is also a commentary on the kind of bleak art we’ve come to appreciate and love thanks to a director like Ingmar Bergman.
“I hope he’s had more fun with his life than with his movies,” Chris says upon arriving on the island. She is the female half of the director’s husband, played by 38-year-old Vicki Krebs, known for her disembodied role in ghost theme From PT Anderson. Hansen Love gives it a bit of meat on the bone and above all a personal, more lively face. Arriving on Faroe Island, Chris was amazed because she already believed that she had known everything by watching Bergman’s films, how uncomplicatedly the environment is, how beautiful and beautiful the homes are. Where are the immeasurable pebbles on the gray-stone beach where the Bergman women scream in the wind? And the barren streptococcus trees that collapse on them exhausted?
in Bergmann Island Let Hansen Love shine the sun all the time. It’s not the ferry mist that sounds, but the sonorous harp music as Chris navigates through the woods. Just cycling already has an unprecedented vigor that is not mountainous, and the forest is crisp, green and transparent. “Why did he never explore happiness?” Chris asks. It seems to me the main question for this movie.
Chris and her husband Tony, A very natural big role for 61-year-old Tim Roth is in the house where he’s also Scenes from a wedding Registered, the Swedish host tells them with a wink. “Is this a good place for me to write?” Chris asks. Tony replies: “Ah.” As if to say something reassuring: ‘No one expects a Character. When you later try to share what you’re making of him, he’s only half listening.
A man enters the world with his work, and a woman approaches him
He said: Trust yourself.
She said, “Something’s holding me back.”
Well, he said, do something else. Write something else.
“Yes,” she said. “It’s as if I had a hundred projects in my head.
He himself gives a guest lecture about his work in the cinema of Bergman, and explains to the admiring audience that he prefers work than his heroine. As did Bergman himself, by the way, in films such as Character And the Screams and whispers Watch close for he was, if not complicit, in the restless female spirit.
How does Bergmann put it? Goodschool She manages to make three films a year, produce more than sixty films, 170 plays, and then also has nine children by six women … That’s normal. “Imagine if he had gone for a diaper change,” one Bergman Society member points out. “Then he couldn’t have left this job to us.”
Meanwhile, the script that Chris is working on is taking shape. It is the story of two former lovers, Amy and Joseph, who meet again in Fårö, where a mutual friend celebrates his marriage. Amy is played by Mia Wasikowska, fresher and steadier than ever, Joseph by favorite actor Joachim Trier, recently seen in his movie. worst person in the world, Interestingly Anders Danielsen Lie.
in which The real life Passion between spouses is missing, it ignites between fictional characters. Contrasting, however, is the attitude of the two men’s self-sufficiency, while the women flutter around, craving attention, touch, something. When Amy lets a friend drag her onto the dance floor to dance to ABBA’s tune, The winner takes it all, And it turns out that Joseph just ran away – instead of continuing to look at her! – In a daze, his great wait begins.
“Here I am now,” Chris tells Tony. “Joseph is gone, Amy is broken.”
Tony looks at his phone, and Chris insists, “Do you think it’s a movie?”
“It depends on you,” says Tony.
Not responding to her request for help. He has another thing on his mind, a meeting on the mainland with the producers. The man goes out into the world with his work, and the woman closes herself in it. On her notebook a blank page, she wrote in large letters: “Elogue.”
In Bergman’s house, where his cinema is also located and his films are stacked on the shelves, Chris’ real and imaginary come together. The apparent flirtation with the local guide effortlessly flows into a more serious flirtation by the director with her male protagonist. Hansen-Løve evokes an intimate relationship on canvas that would never have materialized in this way in the world of Bergman. Two people are attracted to each other and look at each other in some kind of sad resignation, instead of going into something sloppy. How severe a throat can be at the touch of a hand.
Then the last scene, where Hansen Love makes a big hug. For a second we see Chris’s face. see, or see, Lebensbejahung, but also a contradiction. The sweet and bitter irony of female desire is emphasized through the music at the end of the credits, Tina Charles who I love to love sings.
Bergmann Island Now in cinemas