Original subtitles

-[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 ♪