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The loneliness and isolation of the artist was one of the dramatic axes of Ingmar Bergman's cinema.
His characters dedicated to art, self-inspired, rigid, cold, egotistical, often with an uncanny capacity for humiliation, social parasites who did not hesitate to suck the blood of the lives around them for their own creation, were unattainable emotional totems.
Little to do with the artist characters in Mia Hansen-Løve's cinema, which also has them;
those of films like
The father of my children, Edén
and, in a certain sense,
El porvenir.
And yet, the French director has turned to the Swedish creator for inspiration for
Bergman's Island,
premiered at the 2021 Cannes festival, which arrives in Spanish cinemas this Friday as the first major author proposal for the summer.
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Bergman on a tangent
The delicacy of Hansen-Løve bears little relation to the rigor of the author of
As in a mirror
and
The hour of the wolf,
stories commanded, respectively, by a writer and a painter.
Precisely two of the films filmed by the Swede on the island of Fårö, the unique setting
for Bergman's Island,
starring a couple of filmmakers who go to their territory of work and existence, to end up finding very different ways of approaching their thematic lighting, their personal life and their concept of art.
The character of Vicky Krieps —a fantastic actress—, an obvious transcript of Hansen-Løve herself, thoughtful, simple, open to life and indecisive with her writing, and that of Tim Roth, supposedly the figure of the couple, unassailable and absolutely sure. of his ability to compose and invent.
A situation in which it seems impossible to ignore the fact that, shortly before approaching the film, Hansen-Løve had separated from the director Olivier Assayas, with whom he had shared life for many years, and who is also an expert in Bergman's work since his film critic times.
The power of the man and his coldness (“Bergman was as cruel as his films”, it is even said in a dialogue) emerge in a film that appears light, but with an exultant depth that comes both from his disquisitions on the fact of making cinema while having a family, as well as of the dramatic structure itself, unusual in many respects because, at a point towards the middle of its footage, it unfolds into another story that is nothing more than the script that Krieps's character is writing in Lighthouse.
A second section, also exciting, in which the central axis is articulated by another of Bergman's great themes: infidelity.
And some metalinguistic games that don't end there, because the French director still exercises one more narrative turn, with a final stretch in which she roles,
Ghost film in which Bergman seems to watch from above, vigilant, while he is revered, judged and even trivialized (that sequence of the Bergman Safari, an attraction almost like a theme park, in which he has a brief role as an actor Jordi Costa, fellow critic at EL PAÍS for many years),
Bergman's Island
is never gloomy but bright, graceful and exciting.
A labyrinthine
I will always love you
full of layers and narrative audacity.
BERGMAN'S ISLAND
Direction:
Mia Hansen-Løve.
Cast:
Vicky Krieps, Tim Roth, Mia Wasikowska, Anders Danielsen Lie.
Genre:
drama.
France, 2021.
Duration:
112 minutes.
Premiere: July 1.
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