All language subtitles for ber isl ddd

-[film projector whirring]
-[theme music]

[keyboard clacking]

[airplane roars faintly]

[pilots chatter]

Bumpy.

[Chris] This is the last time
I ever get on a plane again.

[Tony] Mm-hmm.

[Chris] If we die,
June will be an orphan.

-[alert dings on PA]
-She'll manage.

[pilot speaking
foreign language]

It's all good.

[chatter]

[Tony] Faro, Damba.

D-A-M-B-A.

-[car engine starts]
-House number?

2078.

-[Chris] Go.
-[car alert beeps]

[computer] You will reach
your destination

in one hour, 48 minutes.

In 200 meters,

turn left
on "Skarfolksgaten,"

then you will turn right
on "Chilvarvejen."

[Chris chuckles]

In 100 meters,

turn left
on "Skarfolksgaten."

No, I didn't add
any new locations.

The casino was there
in the first place.

-[man on phone] Yeah, okay, bud.
-In fact, there were two of them

and I cut it down to one,
so if this...

If their problem is that
there's not enough psychological
detail or description,

then it's easy, we just find
someone and they put it back in.

-They put it back in, right?
-I think they'd like to push
the shoot back another month,

so we've got time
to figure it out.

Yeah, well, if they push,
they're gonna lose
half the cast.

They know that, right?

[computer] In 100 meters,
on "Farovejen," stay
to the right.

Stay to the right.

[ferry ramp thudding]

[Chris] I'm coming.

[mechanical whirring]

Hey.

I think I left my sunglasses
at the airport.

Thank you.

[Tony] Wow!

[gentle music]

[computer] In 100 meters,
you will reach your
destination.

[Tony] Oh, that has got
to be her.

-[Ase] You didn't get lost.
-Miracle of GPS.

Ah, good, because no one here
would have helped you.

There is a secret pact
between the people

-of Faro and Bergman.
-Good to know.

-Ase, nice to meet you.
-Tony. And you.

-Ase.
-Chris.

I take care of the houses.

It's beautiful.

-Yeah, it's gorgeous.
-[Ase] Yeah.

In that house,
you'll find Bergman's
private screening room,

where you can see 35mm prints

during Bergman Week.

-Wow.
-Wow.

You're free to use
the bicycles.

Oh. Nice.

[Ase] And if you want
to go to Lauter

to visit Bergman's home,

it's a 10-minute
bike ride from here.

[Tony] Fantastic.

-This is the living room.
-Oh.

And this TV,
it's very, very old,

but it works.

This was Kabi Laretei's piano.

His fourth wife.

She was a great pianist.

You'll see, this place
is perfect for working.

[Tony] Sure.

It's a very simple house,

easy to live in.

The bedrooms are upstairs.

The big one was
in Scenes From A Marriage,

the film that made
millions of people divorce.

Oh, I have to show you
for the garbage.

In Sweden, we are very serious
about recycling.

-[Tony] Hey.
-[Chris] Hey.

I can go somewhere else
if you want.

Chris?

Chris!

-Chris!
-[Chris] Tony!

Over here in the mill!

[seagulls calling]

-[Tony] Where are you?
-Hey.

I think I'll be
setting up in here.

We can wave at each other.

Wow.

But don't you think
it's too nice?

Too...

Too what?

Beautiful.

All this calm and perfection.

I find it oppressive.

No. It's soothing.

[sighs] Yeah,
but I didn't realize,

you know, writing here,

how can I not feel like a loser?

I'm even afraid
to sit at a desk.

Well, write outside, then.

A lot of people come
here to work--

students, writers, designers.

No one's expecting Persona.

Yeah, well, thank God for that.

-[shuts window]
-You do realize

we're going to sleep in the bed

where they shot
Scenes From A Marriage.

"The film that made
millions of people divorce."

-I know.
-We have to maybe
sleep in the other bedroom.

Separate beds?

Yeah.

[gentle music]

[Tony] Enjoy!

[startled shouting. laughing]

[gentle music continues]

[people chattering]

-Tony.
-Hello. Nice to see you.

-Nice to see you.
-This is Chris.

-Hi, Chris.
-Hello.

And this is Hedda,

who's the head
of the Bergman Foundation.

-And, uh...
-It's an honor to meet you.

...Berit, who's in charge...
-Finally!

-...of the Bergman Week.
-After all the emails.

He said it would be easier
to divide up money than homes.

Nine children.

-Nine!
-[Stig] Nine.

-From six different women.
-Wow.

Didn't it bother him

that everything would be
sold to strangers?

He wasn't sentimental.

He lived in the present.

Did he believe in God?
I mean,

it was complicated, I'm sure,
but did he ever talk about it?

He always said that death
was just a light going out.

That changed after Ingrid died.

Bergman believed in ghosts
more than anything.

When you live alone
on a remote island, you know...

He felt Ingrid's presence
in the house.

He said she was there.

He was absolutely
convinced of it.

-[woman] I have a table ready
for you inside now.
-[Hedda] Thank you.

[woman] It's right here
by the bar.

[chattering]

How was his relationship
with his children?

He didn't see much of them
when they were young.

He wasn't much of a family man,
to put it mildly.

For years, one of his daughters

didn't even know
he was her father.

[woman] You can sit down now.

Then there was a big reunion
at his 60th birthday.

Ingrid had persuaded him
to invite everybody.

Ingrid was adamant about

reconstructing Bergman's
relationship with his family.

So, do you think

you can create
a great body of work

and raise a family
at the same time?

A body of work of that scope?

At the age of 42,
Bergman had directed 25 films,

run a theater,
staged many plays.

How do you think
he would he have done that

if he was also changing diapers?

-How do you feel about that?
-[Tony] In practical terms,

raising nine kids,
directing 50 films,

not to mention the plays,
seems like a tall order.

Yeah, but
in non-practical terms,

the mothers
raised all the nine kids
and he didn't do a thing.

How do you feel about that?

-I should I feel bad, right?
-No.

It's just because you like him
so much, I'm wondering.

Yeah, but you do too.

It's true that a woman couldn't
have done the same thing.

I mean, I would like to have
nine kids

from five different men.

That's nice.

It's just I--

I like a certain coherence.

I don't like it
when artists I love

don't behave well in real life.

So you have your answer, Chris.

Bergman was as cruel in his art
as in his life.

Right.

Still...

[Chris brushing her teeth]

-[water squirts]
-[startled shout]

[stifled laugh]

[laughing]

[Chris sighs]

[laughing]

[birds chirping]

[rooster crows]

[clock ticking]

[Tony] Hey!

I'm off.

-Where?
-Got a panel.

-Wanna come?
-No.

Oh. Don't wanna see
the Bergman Center?

-I'll see it tomorrow.
-Okay.

Fine.

Good luck.

[Tony humming]

[ticking]

[in German]

-Hey.
-[Chris] Hey.

-How did it go?
-It was good.

People were nice.
It's great to see
The Silence there.

I talked too much, but...

-You want some tea?
-I'd love some, yeah.

I miss June.

Oh, I got a video from your mom.

I didn't.

I know, but that's
because I'm her favorite.

There you go.

[June and Grandma
chattering in video]

[TV playing]

From the Life of Marionettes,
pretty hardcore Bergman there.

[Chris] Yeah,
but it's a German one.

I'd like to see a Swedish one.
Like a summer film.

-Not Monika.
-Yeah, Monika, please.

Nah, seen it too often.

-[Tony] After the Rehearsal?
-Fanny and Alexander?

Same thing.
I know that one by heart.

The Seventh Seal.

No, I can't stand that one.

But it's his most famous one,
and I haven't seen it.

-Hour of the Wolf?
-No, that's the one

where a child's head
gets bashed against a boulder.

Right.

No, if we don't see
Seventh Seal,

then at least a nice one.

There's no such thing.

Then we download a film.

You wanted to see Everest.
It's easier.

-Source!
-I know.

Saraband.

Yeah, Saraband.

-I don't have that one.
-Oh, fuck.

Or else I have a 35mm print.
We showed it earlier.

It's going back
to Stockholm tomorrow.

-What film?
-Cries and Whispers.

-You wanted a nice Bergman.
-Hmm.

Alright, you can sit
anywhere you want,

but not in that seat
on the first row.

It has to stay empty
because it's Bergman's.

-Right?
-Thanks.

[fans whirring]

[projector whirring]

[bells toll intermittently]

[deep sobbing]

[sobbing continues]

[woman speaks
in foreign language]

[melancholy music in film]

[no audio while music continues]

It's a like a horror movie
without catharsis.

[Tony] Your point being?

Well, usually when you
come out of a horror movie,

you feel reassured

because you know what you
just saw can't happen to you.

Not with Cries and Whispers.

The solitude, the agony,
the horror of dying.

It's the way things are.

No, it's not.
It's a dream.

Or more like
a fucking nightmare.

I just hope he had more fun
in his life than in his movies.

Me too.

Why are his characters
always so awful?

Why doesn't he ever show any
tenderness or lightness?

There's loads
in Fanny and Alexander.

True, but that came late.

Yeah, but it's good that
it came late, right?

He wasn't interested
in being light.

He--he was dark,
and he wanted to explore that.

It was fun for him.

Why didn't he ever once

want to explore--

-Happiness?
-Yeah, happiness!

I mean, look at this place.

His houses, the island,
beautiful landscapes.

Everything is less harsh
than in his movies.

Then try this place
in fucking January.

No, thank you.

What's the matter?

Movies can be terribly sad,

tough, violent,

but in the end,
they do you good.

-His don't?
-No.

Just hurt me.

Then why do you
watch them then?

Because I love them.

I just don't know why,
that's all.

[panting]

[man] Gina!

[gasps] Please!

Anybody in here?

Please!

Please, I'm in danger, please!

Someone!

Gina!

[footsteps on gravel]

[groans]

[chatter]

-Almost over.
-[Tony] How's it doing?

Don't you ever watch
your movies again?

-No. I hate it.
-Bergman used to say that Hell,
to him,

would be if he had
to watch his own movies

-over and over again.
-I agree.

The credits just started,

-so we move head inside.
-Okay.

[muffled applause]

[cheers and whistles]

[Berit] And please welcome again
Anthony Sanders.

[Tony] All of my life,

I felt like I was, um,
on a tightrope,

you know, I was
kind of balancing,

and, uh, if I fell--
if I fell off, I just--

I'd be lost,
I'd be completely gone.

And so, as a filmmaker,
only really felt, um...

[stammers]

...secure, I suppose,

and--and comfortable

if the central character
of the story

I was telling at that particular
time was, um, female.

The women, they keep you
in touch with reality and--

But at the same time,
they are the ones who

pull you into fiction.

They drive the action
in most of your films.

[Tony] The women do, yeah.

-[man] Hey.
-Hello.

[quiet chatter]

Hey, uh, can I get these?

[man] Yeah, sure.

800 crowns please.

You're lost.

Over there.

You have to go around.

Oh, thank you.

How are things
through Bibi's glasses?

-Much better.
--Hampus.

-Chris.
-You do the residency?

Oh, yeah. Well, with my friend,
Anthony Sanders.

-And you?
-Me too.

I'm working on my short
graduation film here.

But I know Faro.
My grandparents are from here.

I was supposed to stay
until mid-August,

but I'm leaving tomorrow
to see my grandfather.

He's dying.

Oh, I'm sorry.

Oh, he's old.

I'd like to see Bergman's grave.

-Do you know where it is?
-Sure, come on.

I saw your last film
at Goteborg with my girlfriend.

-Oh.
-Besides us,
the theater was empty.

Then we got in a fight
afterwards,

because I liked it and
she didn't. She hated it.

-We broke up afterwards.
-Over the movie?

No, not over the movie.

[leaves rustling in the wind]

Bergman directed his own death.

He decided everything
in advance:

the spot, the wood of
the coffin, and what he'd wear.

Hedda from the Foundation said

that after his wife died,

he started believing
in an afterlife.

He was the son of a minister.

So, the question of faith
always followed him.

[speaks in foreign language]

[translates in English] "Oh,
God, why have you abandoned me?"

But nobody in Sweden
really cares now.

Oh, fuck!

I'm supposed to do
the Bergman Safari.

Bergman Safari,
you can skip that.

Yeah, it's for Tony.
He didn't want to do it alone.

If you want to see
the Bergman spots,

I can show them to you.

I can also show you others.

Ones you'd never see
on the Safari.

-Yeah?
-Yeah.

-It was fabulous.
-Oh, thank you.

-Sorry, can I have an autograph?
-Yeah, absolutely.

[chatter]

-Here you are.
-Thank you so very much.

It was fascinating.
I admire everything you do.

-Oh, thank you.
-Can I have a photo please?

-I just love your work.
-Thank you.

-Keep going.
-Thank you very much.

Can I please have
your autograph?

Your my favorite director.

You're the reason why
I started studying cinema.

-Thank you.
-Nice to have met you.

Okay.

[Hampus] I have some cider.
It's local cider.
It's delicious.

It's in the back.
Can you open it?

Sure.

Where are we going?

I was thinking
Ullahau to start.

[Chris] Ullahau?

Hello, everyone.

I think that we're all here,
so we can get going!

My name is Felicia, and
I'm happy to be your guide

for the annual Bergman Safari.

My two colleagues,
Vivianne and Majken,

are going to help me out.

It is a nice, sunny day,

which is a great plus.

For those of you who downloaded
the app on your iPhones,

now is the time to start it.

With it, you'll be able
to follow our journey

on the map of Faro.

Now, if you all
come onto the bus.

I didn't introduce you earlier,
Francisco Molina,
Anthony Sanders.

-How do you do.
-Pleasure.

Francisco teaches
at University of Barcelona.

And he was the hands-down winner
of last night's Bergman Quiz.

-Wow.
-Yeah.

-Shall we?
-Yeah.

[chatter]

[bus engine starts]

[woman in video
speaks foreign language]

[quiet chatter]

You know, Bergman didn't like
that movie.

Yeah, that's why they
went to Italy.

Yeah. it's got
all the stuff about

his personal life,
his marriages--

We're arriving at the spot
where Bergman shot
Through a Glass Darkly,

the film which allowed him
to discover Faro.

At first, Bergman didn't want
to shoot it in Sweden.

He wanted to go
to the Orkney Islands

off the Scottish coast.

But the producers thought that
that would be far too expensive.

So, they tried to persuade him
to film it in Sweden instead.

This place came to be
around 1700.

People started
cutting down the trees,

and the sand would
blow in from the north,

creating these dunes
in the clearings.

Ullahau means
"the rolling dunes",

because people thought this
meant judgment day was coming.

And they used to say...

[speaks Swedish]

which means that
when Ullahau and sand high meet,

judgment day is near.

And then a man planted
many new trees,

stopping more sand
from coming in.

But the dunes that were
already here, they remained.

This makes me
want to go to the beach.

-It's no problem.
-A nice sandy beach.

There is two of them, the north
beach and the south beach.

The south beach is large,
with big waves.

It's more touristy.

The north has no tourists,
no wind, the water is clear,

-but lots of jellyfish.
-No way.

Yeah, but they're harmless.

And the south does have a few
which are stingers.

Much, much worse.

[chatter]

So, the house in the film
was here.

Actually, they only built
the facade and the interiors

-were mostly shot in studio.
-[man] What happened
to the house?

[Felicia] Well, they had
to tear it down after the shoot.

Bergman was looking for
a small garden

with old trees, and that's part
of why he picked this spot.

The trees are still here,

and you can also see where
they took down the wall.

Here you can see that
the wall has been replaced.

All the way to, uh... here.

So, the stones are different.
These are the ones they used

when they rebuilt the wall.

And, if you look over here,

you can see where the jetty
once was built.

So, that was like the foundation
of the jetty.

And, uh, this tree
is actually also in the movie,

but it was really small then.

So, it has grown a lot

since the film was made
about 60 years ago.

When Bergman arrived in Faro,
something happened.

It was love at first sight.

Bergman was dazzled
by the island's beauty.

It was as if he had found
his own landscape,

one that already existed
inside of him.

[gentle music]

[chatter]

Before making Persona,
Bergman had been hospitalized,

suffering both mental
and physical exhaustion.

But after Persona,
he was as happy as ever.

Persona incarnates this
transition and this fullness.

Bergman never forgot it.

He said that Persona was
the film that saved his life.

[inspirational music]

[man] Is it Shame or The Shame?

[Felicia] In Swedish
it's Skammen,

which means "The Shame",

but the English title
is Shame,I think.

Oddly enough, in the UK
it was released as The Shame.

[music and chatter continue]

[Felicia] Bergman knew that he
would receive a lot of criticism

for evoking Vietnam
in this manner.

Because the debate in Sweden
about the war

was very black and white.

His film is extremely gray.

[music continues]

Did you see, jellyfish.

[gasps]

-[startled scream]
-[both laugh]

[disgusted groan]

[laughter]

Would you like to buy
some lambskin?

Um... yeah.

I can't choose.

I prefer the black,
long-haired ones.

But they're more expensive.

[chatter]

Yeah, totally.

So, guys, guys!

We traditionally end
the Bergman Safari

by having a lamb burger.

-Is everyone up for it?
-[all agreeing]

-Otherwise you can
have a veggie burger.
-[man] No!

Comprising of Hour of the Wolf,
Shame, The Passion of Anna.

Uh, you know, Bergman
didn't see them that way.

Yeah, but, you know,
he didn't consider

Through a Glass Darkly,
The Silence,and Winter Light

as a trilogy, and yet,
some critics still see them

as a trilogy about
the loss of faith.

I mean, he definitely said
they were a trilogy,

but then walked it back.

Just because he said
it's a trilogy

doesn't mean it is one.

Yeah, sure.

Thank you
for the Hampus Safari.

I hope you enjoyed it.

I loved it.

Don't forget your sheepskins.

-See you.
-Bye.

-Hey.
-[Chris] Hey.

Très chic.

Thanks for the support.

I saw the bus and freaked out.
I'm sorry.

That's alright.

How was it?

It was pretty good, actually.

Yeah.

But I've been feeling
a bit yuck since I got back.

-Why, what happened?
-Must have been the burger.

So, where were you?

Driving around.

Oh, yeah. driving around?

Mmm. I met a guy.

Oh, you met a guy? Sure.

-A student.
-Hmm.

-A student, was he?
-A film student from Stockholm.

Oh. Was he handsome,
was he sexy, was he?

-Yeah.
-Oh.

Was he brilliant
when he talked about Bergman?

Not like you, but, um,
his clumsiness had its charm.

Oh, thanks. Shut up.

[printer whirring]

[clock ticking]

[ticking stops]

[footsteps approaching]

Looking for something, huh?

-No.
-Oh.

[Chris quacking]

[gentle music]

[distant chatter]

[music continues]

Hey. Hi.

I'm looking for the house

from Through a Glass Darkly.

Bergman's film.

Sorry, don't understand English.

Ingmar Bergman?

The filmmaker
who lived on the island.

Sorry.

[chatter continues]

[in Swedish]

[Chris] Oh, come on.

[thunder rumbles]

[rain pouring]

[thunder crashing]

-[footsteps approaching]
-You want to have lunch?

-Yikes.
-[sighs]

I went to see the house from
Through a Glass Darkly,

but I couldn't find it.

-There isn't one. Never was.
-What?

But the picture on the map?

They built the facade, and they
shot the interiors in a studio.

Bergman Safari, babes.

[Tony] How's it going?
Where you at?

[sighs] I'm still
doing the outline,

but I don't know
if I want to write it.

Why not?

Because I'm afraid it's
like stuff I've already done.

No... not possible.

I thought we spent
all whole lives

saying the same thing.

We do, but from
different perspectives.

You just gotta trust yourself.

Characters, the dialogues,
the situations, it all fits,

but something
is holding me back.

Something is making me anxious.

Oh, well, that's different.

If it's making you anxious,
take a break.

You just said "write".
Now you say "don't write".

That doesn't help.
It's not easy!

You know how hard
writing is for me.

It's--it's torture.

It's self-inflicted agony.

It's blood from a stone.

Well, then, do something else!

Yeah, like what,
full-time housewife?

Well, it's an honorable
profession.

You know, there's no reason
writing has to be
so difficult for you.

You're not 15.
You've outgrown that.

Well, maybe I am
because I haven't.

Write something else.

It's not like I have
a ton of projects

lined up in my head.

I really thought
you would encourage me.

I'm trying.

You know I love your work.

How's your thing going?

Um, pretty good, actually.

What's it about?

It's about, um,

how invisible things circulate

within a couple.

And the story?

Why don't you ever
tell me anything?
I tell you everything.

-Don't wanna jinx it.
-Oh.

Can you tell me
where it takes place?

Here.

-Here?! Faro?
-Yeah.

Don't say that like
I'm supposed to know.

-Well, I thought you did.
-No, I don't,

because
you don't tell me anything.

-[Tony] I've got a title.
-Mmm.

You can keep it to yourself.

[rain pattering]

What's the matter?

Is it your script?

Miss June, you want to go home?

You sure?

[sobs quietly]

[birds singing]

[writing on paper]

Can I tell you about
what I'm writing?

Yeah.

It's the last episode
of a longer story.

So, maybe it's too flimsy
and not enough for a movie,

-but I would like your opinion.
-Okay.

So it takes place

over three days at a wedding.

I don't know where yet,

but maybe a place like here.

Like Faro.

An island, actually,
would work very well.

Um, and it could
start on the plane.

Or maybe on a boat.

[magical music]

[Chris] So, we're on a ferry
in the Baltic Sea,

from the mainland to Gotland.

It's a four-hour ride,
and it's spring.

Or maybe it should be summer.

It's late summer.

[chatter]

A young woman
looks into the distance.

Her name is Amy.

She's about my age
or maybe a bit younger.

Let's say she's 28.

[music continues]

She's the main character
of the film.

She arrived in Stockholm
that morning from New York.

She's come for the wedding
of an old friend, Nicolette,

who's marrying a Swede
named Jonas.

The celebration takes place
on an island

off the northern tip
of Gotland.

An island called Faro.

Which is hardly
insignificant to Amy,

-as she's a director.
-Alright.

And Bergman occupies
a very important place
in her imagination.

For many,
he's a formidable reference,

but for her, he is...

sort of refuge, a consolation.

-Mm-hmm.
-And yet...

and yet it's not him she's
thinking about right now.

Another man
is monopolizing her thoughts.

Joseph is his name.

Joseph she can't let go.

Amy was 15 when she met Joseph,
who was 17.

They loved each other
passionately and awkwardly,
like teenagers do.

And they tore each other
to pieces.

Joseph left Amy the day
she turned 18.

They each went
their own ways,

but Amy never forgot Joseph.

When they saw each other again
years later,

they realized that their
feelings were still there.

The attraction
was still overwhelming.

They became lovers.

They were more mature,

understood each other better,

but circumstances had changed.

And there was no place
in their lives
for this love story anymore.

The first time had been
too soon, second too late.

So, they gave up and
stopped seeing each other.

I'd like this film to be

the last chapter
of their story,

which was just a series
of failures

and betrayals and dramas.

The story
of impossible mourning,

of suffering, overshadowed
by a few memories

of intense happiness.

So, following
Nicolette's advice,

Amy met up with
two of Jonas' friends.

They were going to Faro by car
from Stockholm.

Joseph did the same thing,

though he started out
from Oslo.

And so, after
several years apart,

the two lovers find themselves

sitting in the back seat
of a car

driven by total strangers.

Wilma and Peter don't know
of Joseph's and Amy's past.

By tacit agreement,
they play dumb.

Out of bashfulness,
or as a game,

they pretend they vaguely
know each other.

This charade only increases
Amy's desire.

Will you be spending any time
in Sweden after the wedding?

No, I'm heading straight back.

-I promised my daughter.
-Oh, sweet. How old?

-She's four.
-[Wilma] Gorgeous.

-[Peter] What about you?
-No kids.

I mean, are you staying
in Sweden after?

Ah! No, I have to go
right back, actually.

Duty calls.

Is it a problem if I don't have
a--a tie for church?

I was going to buy one
at the airport, but I forgot.

-No, it's fine--
-I was also wondering,

I realized the dress
I planned to wear, it's white.

-It's my only nice dress.
-Well, usually, only the bride
wears white.

-Shit.
-I mean, you're gonna
have to ask Nicolette.

-She probably won't mind.
-Actually, I don't know that
it's really white.

It's more like off-white
or cream, kind of beige.

[dog barks]

[Joseph] You want to go
to the upper deck?

I saw your movie.

Oh.

You know that guy?

Wait, which guy?

The one who plays me.

Ah.

Yeah.

What about him?

I'm much better.

Really? In what ways?

In all departments.

Physically, to start with.

And most of all as a person.
He's a--he's a prick.

Damn. I thought
I'd idealized you.

Idealized?

Okay. I hope you're kidding.

-We've been to Visby once.
-Shh!

To the medieval week.

-[Amy] What--
-They have, like,
a medieval-themed week

-where they--
-You went to that?

-Of course.
-Did you do reenactments?

-[laughter]
-[stammers] Kind of.

What do you mean?

[Wilma] Albatross.
We're here.

Jonas?

-[faint chatter]
-[Wilma] Nicolette?

-[Peter] Jonas?
-Nicolette?

[chatter grows louder]

[Joseph] Nicolette?

You can't see my dress!

-Okay, sorry.
-Really?

We found her in the dress.

Hey! How are you?

[Nicolette] I'm good. Frantic.

-Not too nervous?
-Yes, a bit.

-But compared to Jonas...
-I can imagine.

-[Nicolette]
Where are you staying?
-I'm at Sudersand.

-[Nicolette] And you?
-I'm here in Albatross.

-I even got the Bergman suite.
-I'm very jealous.

Yeah, well,
the toilet's in the garden.

-if that's any consolation!
-Okay.

[chatter continues]

I think we're down here.

-See you later.
-See you.

[laughter and chatter]

My grandparents grew up here,

so I spent my summer
vacations here.

-Yeah. So, I know every inch.
-Did you meet Bergman?

Oh, Bergman, Bergman, Bergman.

Why is Sweden always
synonymous with Bergman?

No, come on.
You're getting married in Faro.

-It's kind of his island.
-Oh, his island?

I don't know.

You've seen any of his movies?

-Yeah, sure.
-Yeah? Which ones?

A lot of them.

Um, do you know
where his house is?

I'd really like to see it.

It's in Lauter.

Hold on.

Can you spell it?

L-A-U-T-E-R.

That's the main one, the one
where he lived until his death.

You'll find it on a map.

Thanks.

[imitates Bergman]
My father was so patriarchal.

[pretends to sob]

I mean, who hasn't had
a patriarchal father?

I'm just saying, Bergman did not
have a hard time.

You know what happened when
he got enlisted

in the Swedish army
during World War II?

He got an ulcer.

That's what he got.

[imitates Bergman] Oh, no.
Not the demons again!

I mean, who gets an ulcer
from being enlisted
in the Swedish army

during World War II?
We were neutral.

[imitates Bergman] Oh, no.
I can't fight in the war,

I have to fight my inner demons

'cause my daddy put up scary
paintings on our walls.

[scoffs, normal voice] Come on.

Fine, maybe three critics
thought he was... amazing.

But there's a world
outside your own asshole.

[scoffs] Fuck Bergman.

Oh, and to answer your question,

no, I never met Bergman,

but my grandparents used to bump
into him at the grocery store.

And they found him
terribly unpleasant.

Maybe he just didn't
like grocery shopping.

-I'm gonna go for a smoke.
-Yeah.

[chatter]

-Do you have a cigarette?
-Mm-hmm.

Thanks.

Nicolette, I wanted to ask,

I realize the dress I'd planned
on wearing for the wedding...

-Yes.
-It's white.

Or off-white, like
a kind of, um, beige.

Is it a problem?

It depends.

Is it white or beige?

[stammers]

Off-white? I guess someone
without a very sophisticated

sense of nuance
might think it's white.

And you don't have any others?

I do, they're just
not as, uh, elegant.

-I can lend you one.
-Okay.

["You Won't Find It Again"
by The Go-Betweens plays]

[chatter]

♪ I don't have trouble ♪

♪ Made a habit
of tracking you down ♪

♪ That feeling
was your only companion ♪

♪ You sat by your window ♪

♪ Waiting for the world
to come to you ♪

♪ The secret's in motion ♪

♪ There's not a lot
that I can do ♪

♪ Don't you know baby ♪

♪ You won't find it again ♪

♪ Don't you know baby ♪

♪ You won't find it again ♪

♪ The mothers and daughters ♪

What are you doing?

[Joseph] Looking at the stars.

[chatter and music
continue faintly]

-I'm gonna go.
-Okay.

How?

[Amy] I rented a bike.

Do you think you can ride it?

[faint laughter]

♪ It all comes back to zero ♪

[Amy] You're not inviting me
up to the Bergman suite?

Uh, we're not free,
Mrs. Bergwoman.

Need I remind you?

First of all,
don't call me, "Mrs.".

I'm not married.

And secondly,
don't patronize me.

Is that all?

You're the one
who doesn't want to.

-Me?
-Yeah. I can tell.

You pulled away. You--

Will you come pick me up by bike
tomorrow morning?

Okay.

[Chris] So,
the first night goes by.

-Are you listening?
-Uh-huh.

-You spaced out.
-No, I didn't.

-Yeah, you did.
-No, I didn't.

So, the first night goes by,

painfully, for Amy.

And the next morning,
as late as she can bear,

so, very early,

she goes to pick up Joseph.

She reaches Albatross,

crosses the garden
to the Bergman suite.

[melodic wind chimes]

-Hi.
-Hi.

-Shall we go?
-Yeah.

[gentle music]

[Chris] They have the day off,

so they decide
to go for a bike ride.

They were told they should
go and see the Rokaur,

these huge pillars
sculptured by the sea,

scattered along
the northern coast.

[music continues]

They continue their bike ride

passing through Helgumannen,

a former fishing village.

[music continues]

I feel like
you're going to counsel me.

No one is forcing you
to be here with me.

I know.

[music continues]

[music fades]

[birds singing]

[leaves rustling in the wind]

[music resumes]

[Chris] At sunset,
they part ways.

-[Joseph] Bye.
-[Amy] Bye.

[music continues]

Amy hopes to hear from Joseph,
but no word comes.

[chatter]

It's not until the next morning
at the wedding ceremony

that she finally
sees him again.

[music continues]

She has given up
on the white dress.

[door opens]

The bride and groom
march into the chapel.

[all sing in foreign language]

Amy looks at Joseph,

hoping he'll turn around.

Tears roll down her face.

Is it the emotions
of the bride and the groom

rubbing off on her?

The music?

Her feelings for Joseph?

Something else?

[in Swedish]

Amen.

Your solemn vows
will now be exchanged.

Nicolette, I will love you.

I will share joy
and sorrows with you,

and I will be faithful to you
until death do us part.

[gleeful shouting]

[Chris]
Once the service is over,

-the guests get into a bus...
-[horns honking]

...which takes them
to a large house by a lake

where the reception is held.

[excited chatter]

[all cheer]

[in Swedish]

[cheers and whistles]

[dance music plays]

[man sings in foreign language]

[all speak foreign language]

[in English] Do you want
a marshmallow?

[Amy] Sure.

[excited chatter]

["I Love To Love"
by Tina Charles]

[Joseph] I stole a bottle.

♪ Oh I love to love ♪

♪ But my baby
just loves to dance ♪

It's Nicolette
who dragged me along.

You know her.

♪ But there's no time
for our romance ♪

♪ No, no, no ♪

♪ Oh I love to love ♪

♪ But my baby-- ♪

[Amy] Did you put that song on?

♪ The minute
the band begins to swing it ♪

♪ He's on his feet
to dig it ♪

♪ And dance the night away ♪

♪ Stop
I'm spinnin' like a top ♪

♪ We'll dance until we drop ♪

♪ But if I have my way ♪

♪ Oh, I love to love ♪

Come on.

♪ But my baby
just loves to dance ♪

♪ He wants to dance
He loves to dance ♪

♪ He's got to dance ♪

♪ Oh, I love to love ♪

♪ But my baby
just loves to dance ♪

♪ Oh, I love to love ♪

♪ But he won't
give our love a chance ♪

♪ No, no, no ♪

♪ Oh I love to love ♪

♪ But my baby
just loves to dance ♪

♪ Stop
I'm spinnin' like a top ♪

♪ We'll dance until we drop ♪

♪ But if I have my way ♪

♪ Sometimes instead of
going downtown ♪

♪ We'll stay at home
and get down ♪

♪ To what I'm trying to say ♪

♪ Oh I love to love ♪

♪ But my baby
just loves to dance ♪

[singing in foreign language]

[loud chatter
in foreign language]

[Peter] Hello. Hello.

Hey, we're going to the sauna
to the beach it,

if you want to join us.

[in Swedish]

[Joseph in Swedish]

[chatter continues in Swedish]

[laughter]

Hey!

[gleeful shouting]

[chatter in foreign language]

-[Amy] Bye.
-[Peter] Bye.

-[Joseph] Bye.
-[Peter] Bye.

[Peter and Wilma chatter]

-[cell phone rings]
-Oh, shit.

Sorry.

Yep.

Um...

yep.

[seagulls crying]

[Tony continues, muffled]

Wait.

[both breathing heavily]

Wait.

You keep leaving.

I'll be right back.

Well?

Do you like it?

Come closer.
I can't see.

Okay.

White or off-white?

Let me see.

You'll crinkle it.

Do you still enjoy it?

Enjoy what?

Making love with me.

Can't you tell?

Yeah, but I need you to say it.

I never mention you
to my girlfriend,

but she's jealous of you.

Only you.

Why, are there others?

Sometimes.

You're unfaithful too.

I love two people.

That's different.

I love you too,
but I also love Michelle,

and I'm building
something with her.

Why her and not me?

I don't know, it's just, uh...

it's just life.

You had a child.

I wanted one with you.

You wanted two children
with two men at the same time.

It was absurd.

Come here.

Don't turn your back on me.

No.

Stop it.

After everything you said,
I don't feel like it anymore.

Yes, you do.

[heavy sigh]

Sorry about that.

So, where were we?

We'd just left the sauna.

[Tony] Okay.

And that's when Joseph
decides to go to Amy's.

-And you can imagine
what happens.
-Right.

At one point,
she puts on the white dress.

-Okay.
-She wants to wear it for him.

And then, they make love again

and again.

Then they fall asleep
in each other's arms.

But when they leave the house,

Joseph's grown cold and distant.

[chatter]

-Hi.
-Hey.

Everybody obviously
knows about us.

-Yeah.
-I don't care.

I do.

Are you angry?

No.

You are.
You're upset with me.

I'm upset with myself.

Same thing.

What we did was wrong.

It's a betrayal.

And you deal with it well,
but I...

I can't look at my girlfriend
afterwards.

I'm going to change,
but, uh, we'll meet up later?

Okay. When?

I don't know. I'll call.

[children chatter]

[Chris] While waiting for
Joseph to make up his mind,

melancholic Amy wanders
through Sudersand.

But two hours later,
she's going mad.

The suite is empty.
Joseph isn't there.

[Hampus] Amy?

Then Hampus arrives,

and suggests they play
a game of Ludo.

-[Hampus] How are you?
-[Amy] How are you?

The alcoholic version.

[chatter]

Um...

one, two, three, four.

[Hampus stammers] This...

I don't understand this move,

and I don't understand
where you're going.

-I can.
-[Amy] That's the rules now.

-New rule.
-We just go back.
We go backwards.

-Go backwards?
-Yeah.

And this piece,
where--where does it go?

I think you have to drink
that one.

And how do I win?
Tell me this new way.

You go all the way
back to your home.

-And then I win?
-Yeah.

-So, you changed the rules
to Amy rules.
-Yeah. yeah.

For Amy winnings. For Amy.

I don't know.

I don't know about that.

I'm not so sure.

I think...

[Chris] Amy feels more
and more light-headed.

She doesn't even see Joseph
when he enters the cafe.

[chatter continues]

Hello.

On the last night, Nicolette,

an amateur singer,

performs a concert
for her friends.

The first song I'm gonna sing

is very special for Jonas and I.

[strums romantic melody]

♪ Strawberries, cherries ♪

♪ And an angel's kiss ♪

♪ In spring ♪

♪ My summer wine ♪

♪ Is really made
from all these things ♪

♪ Take off your
silver spurs ♪

♪ And help me pass the time ♪

♪ And I will give to you ♪

♪ Summer wine ♪

♪ Oh, summer wine ♪

[singing continues faintly]

[chatter and laughter]

Can I have a cigarette?

It's my last one.
We can share it.

Thank you.

So, we're all going
to the beach.

You wanna join us?

I don't wanna be in a group.

I wanna be with you.

[Winner Takes It All
by ABBA plays]

[woman sings indistinctly]

Oh, I love this.

♪ I played all my cards ♪

♪ And that's what
you've done too ♪

♪ Nothing more to say ♪

♪ No more ace to play ♪

♪ The winner takes it all ♪

♪ The loser's
standing small ♪

♪ Beside the victory ♪

♪ That's her destiny ♪

♪ I was in your arms ♪

♪ Thinking I belonged there ♪

♪ I figured it made sense ♪

♪ Building me a fence ♪

♪ Building me a home ♪

♪ Thinking I'd be
strong there ♪

♪ But I was a fool ♪

♪ Playing by the rules ♪

♪ The gods may throw a dice ♪

♪ Their minds as cold
as ice ♪

♪ And someone way down here ♪

♪ Loses someone dear ♪

♪ The winner takes it all ♪

♪ The loser has to fall ♪

♪ It's simple and
it's plain ♪

♪ Why should I complain? ♪

♪ But tell me
does she kiss ♪

[chatter and laughter]

[voicemail beeps]

[Joseph's message
in foreign language]

♪ A lover or a friend ♪

♪ A big thing or a small ♪

♪ The winner takes it all ♪

[abrupt silence]

[melodious wind chimes]

[chatter]

-[woman] Hi.
-Hey.

-[woman 2] Hi.
-Hi.

-How are you?
-Good, thanks.

Have you seen Joseph?

-He left.
-[Amy] He left?

[woman 3] Yeah,
with Wilma and Peter.

They were taking
the 11 o'clock ferry.

Hey.

Are you okay?

[sobs]

Is it Joseph?

It's still not over, is it?

[Chris] Amy goes back
to Sudersand.

Entering the house, she feels
her restlessness subside.

It is replaced
by a cold sadness.

So, basically,
that's where I'm at.

Joseph's left.

Amy's a mess.

I could end it here.

Or Amy could hang herself
with the belt of her dress.

Really?

Or more dramatic,

she could try and hang herself

at the wing of the Bergman mill
and then fail.

Classic.

Anyway, I...

I can't get beyond that point.
I'm stuck.

You will.

Do you think it's a movie?

Well, that depends on you.

I mean, if you look
at something long enough,

it becomes interesting, right?
Somebody said that.

-Thanks.
-And it's good that

you're focusing on
a three-day period.

You've never done that before.

You just have to find
your ending, that's all.

Yeah, but I can't.
So, can you help me?

I doubt it.

And I don't think
I'm the person

-to be discussing this with you.
-Why not?

-Why do you think? Shit.
-[cell phone rings]

Sorry.

Thanks for abandoning me
at this critical moment.

Never happened.

You sure you don't
want me to leave the car?
I can take a taxi.

No, I can be three days
without a car.

I'll take the bike.

You're not gonna freak out
at night?

I will, but that's
part of the game, no?

Well, if you get too scared,

go to the B&B.

Yes.

Take care driving our baby.

-Always.
-And good luck
with the producers.

[gentle music]

[music continues]

There!

[music fades]

[faint classical music]

[music grows louder]

Hello?

Hello?

Someone here?

[gasps] You scared me.

-So did you!
-It--it was open.

I should have locked
the door from the inside.

That's the rule.

[Chris] You came back to Faro?

- My grandfather died.
-I'm sorry.

So, I came back to light candles
in his memory.

And I figured I'd come by here.

And the people from
the Foundation

-let you come and go?
-They know me.

I'm not going to leave
with a bedside table.

How are you?
Any luck with the script?

I did an outline,
but haven't found an ending...

yet.

This was his office?

Yeah.

[turns music off]

I came here to listen to music,

then I fell asleep.

Bergman's house is a place where
you fall asleep easily.

It's these lambskin benches.

If you're looking
for inspiration,

I recommend in here.

It's the meditation room.

Also known as Ingrid's room.

Bergman had it built
after his wife's death.

I have to go. I need to catch
the four o'clock ferry.

Don't forget
to leave before five,

or the alarm will go off.

Okay.

-Thanks for the warning.
-No problem.

And when you leave,

lock up and put the key
in the box near the door.

-Okay?
-Okay.

[clock chimes]

-Hi, Anders.
-Hey, Chris.

For a second,
I didn't know where I was.

Everything was mixed up.

The crew left.
So, I thought you'd gone too.

I was tired.
I--I needed to lie down.

Yeah, we're all exhausted.

-But the shoot is almost over.
-Yeah.

You just got here?

No, I was watching you doing
the last shot of the day.

I didn't want to leave
the island

without seeing Bergman's house.

Seriously, you could have
written a scene for me here.

I tried.

There was simply no reason
for your character to be here.

Oh. It's almost five.

We have to leave
before the carriage

turns into a pumpkin.

Will you show me
the library first?

Yeah.

Follow me.

An entire life
wouldn't be enough time

for me to read
one-quarter of these books.

This is my favorite object here.

It's a model of the Dramaten,

the national theater
of Stockholm.

It was given to Bergman
when he left.

And who is in his favorite
position spying?

-Ingmar Bergman.
-[both chuckle]

[chatter]

There's a car leaving
for Albatross,
if anyone's interested.

Me!

So, this is goodbye.

Yeah, I'm off early tomorrow.

I guess your wife and kid
will be waiting at the airport?

Yeah. I'd better find some nice
presents in Stockholm,

or I might as well
take the first plane back.

Well, you can always
get sheepskins.

-Bye.
-Be well.

-Safe travels.
-Bye.

[Chris] See you tomorrow!

So, one last game?

Yes.

One cigarette and we'll go.

-Back to the stable.
-No fucking way.

I hate this game.
Can we stop it, please?

Just admit that
you don't like losing.

You don't like it
when things escape you.

If I needed a shrink,
you'd be the last--

you'd be the second last person
I'd go see.

-Who'd be the last?
-My mother.

-[chuckles]
-Oh, fuck.

Okay, enough. Let's stop.

This game is, uh, ridiculous,

and I really need
to get some sleep.

Estimated time of departure
in four hours.

You're not coming
to say goodbye?

I'm stuck.

[scoffs]

Thanks for everything.

Please don't thank me.

You should get some sleep.

You have to be in shape
tomorrow.

Go on, get going.

[gentle music]

[music continues]

-Wanna go take a look?
-Yeah!

So, you know this island.
It's kind a special right?

Yeah. It's the island
of the director

-you and Mommy like a lot.
-Yep. That's it.

-Is he alive or dead?
-He's dead.

Did he go to heaven?

Mmm. Questionable.

Dad, there's something
I really want to ask you.

-Go on then.
-Do ghosts really exist?

-Yes.
-Tell me the truth.

No?

-Yes, they do!
-Or they don't.

Then why do you
tell ghost stories?

-Moi?
-Grandma said you were

going to make
a movie with ghosts.

Oh, Grandma said that, did she?
What does she know?

She read it on the Internet.

Oh, she's on
the internet now, is she?

Yeah. Can you tell me
your ghost story?

It's a zombie story, right?

Zombies.
And there's this monster.

This gigantic, like...

mushrooms coming out
of his bum,

like exploding ears,

plus, covered in poo.

From top to bottom, right?

And blood bleeding
from his eyes.

-And there's a giant girl.
-[June] Yeah.

[Tony] Alright?

If you go up there

and you look real hard,
I think you might find your mom.

Go on, go for it.

[Chris] June!

[both laughing]

Oh, my baby.

Mmm, my love.

[gentle music]

[woman sings in French]

[man in English as woman sings]
Who can sail without the wind?

Who can row without an oar?

Who can say goodbye
to their love...

without crying?

I can sail without the wind.

And I can row without an oar.

But I can't say goodbye
to my love...

without crying.

[music continues]

[woman resumes
singing in French]

[song ends]

[I Love To Love
by Tina Charles]

♪ Oh I love to love ♪

♪ But my baby
just loves to dance ♪

♪ He wants to dance
He loves to dance ♪

♪ He's got to dance ♪

♪ Oh, I love to love ♪

♪ But my baby
just loves to dance ♪

♪ Oh, I love to love ♪

♪ But there's no time
for our romance ♪

♪ No, no, no ♪

♪ Oh, I love to love ♪

♪ But my baby
just loves to dance ♪

♪ The minute
the band begins to swing it ♪

♪ He's on his feet
to dig it ♪

♪ And dance the night away ♪

♪ Stop
I'm spinnin' like a top ♪

♪ We'll dance until we drop ♪

♪ But if I have my way ♪

♪ Oh, I love to love ♪

♪ But my baby
just loves to dance ♪

♪ He wants to dance
He loves to dance ♪

♪ He's got to dance ♪

♪ Oh, I love to love ♪

♪ But my baby
just loves to dance ♪

♪ Oh, I love to love ♪

♪ But he won't
give our love a chance ♪

♪ No, no, no ♪