All language subtitles for Bergman.Island.English-WWW.MY-SUBS.CO

[KEYBOARD KEYS CLACK]

[PLANE ENGINE RUMBLES]

[RUMBLING CONTINUES,
INDISTINCT CONVERSATION]

[WOMAN] God.

Bumpy.

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

If we die, June will be an orphan.

- [ANNOUNCEMENT TONE]
- She'll manage.

[MAN SPEAKS SWEDISH ON PA]

It's all good.

[ANNOUNCEMENT CONTINUES]

[INDISTINCT CONVERSATION]

[AIRCRAFT OVERHEAD]

[MAN] Fårö, Dämba.

D-A-M-B-A.

- [ENGINE STARTS]
- House number?

2078.

- [WOMAN] Go.
- [ALERT BEEPS]

[AUTOMATED VOICE] You will reach
your destination in 1 hour, 48 minutes.

In 200 metres,

turn left on Skarfolksgaten,

then you will turn
right on Chilvarvejen.

[SHE CHUCKLES]

In 100 metres,
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, but...
- In fact,

there were two of them
and I cut it down to one.

So, if there's...

If their problem is 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?

[MAN, ON PHONE] I think they'd like
to push the shoot 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?

[AUTOMATED VOICE] In 100 metres,
on Farovejen, stay to the right.

Stay to the right.

[BRIDGE CLATTERS]

[WOMAN] I'm coming.

[MACHINERY WHIRS]

[WHIRRING CONTINUES;
FERRY ENGINE THRUMS]

Hey.

I think I left my sunglasses
at the airport.

Thank you.

Wow.

[DELICATE ACOUSTIC MUSIC]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[AUTOMATED VOICE] In 100 metres,
you will reach your destination.

- [MUSIC CONTINUES]
- [MAN] Oh, that has got to be her.

[MUSIC CONTINUES]

[MUSIC FADES]

[BIRDSONG]

[WOMAN] You didn't get lost?

Miracle of GPS.

Oh, good! Because no-one here
would have helped you.

There is a secret pact between
the people of Fårö and Bergman...

- Good to know.
- Åse.

- Tony.
- Nice to meet you.

- Åse.
- Chris.

I take care of the houses...

It's beautiful.

- 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.

[ÅSE] And if you want to go to Lauter
to visit Bergman's home,

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

[TONY] Fantastic.

This is the living room.

And this TV is very, very old,
but it works.

This was Käbi Laretei's piano,
his fourth wife.

She was a great pianist.

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

[TONY] I'm 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're serious about recycling.

[WIND RUSTLES TREES]

[FAINT BIRDSONG]

- Hey.
- Hey.

Can go somewhere else, if you want.

Chris?

Chris?

Chris!

[CHRIS, IN DISTANCE] Tony!

Over here, in the mill!

- [TONY] Oi.
- Hey.

I think I'll be setting up here.

We can wave at each other.

Wow.

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.

- [SHE SIGHS]
- Yeah, but I didn't realise,

you know, writing here,
how can I not feel like a loser?

I'm even afraid to sit at a desk.

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.

- [WINDOW CLOSES]
- You do realise

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.

In separate beds?

Yeah.

[DELICATE ACOUSTIC MUSIC]

[TONY] Enjoy!

[SHE SCREAMS, LAUGHS]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[MUSIC CONTINUES]

[INDISTINCT CONVERSATION]

Tony.

- Nice to see you.
- Nice to see you.

- This is Chris.
- Hi, Chris.

- Hello.
- And this is Hedda,

who is the head
of the Bergman Foundation...

- It's an honour to meet you.
- And Berit, who is in charge

- of the Bergman Week.
- Finally... after all the e-mails.

Hello, nice to meet you.

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

Nine children.

Nine!

From six different women.

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.

[WAITRESS] ] I have a table
ready for you inside now.

[HEDDA] Thank you.

[WAITRESS] Just wait here, by the bar.

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.

[WAITRESS] You can sit down now.

Then here 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't 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 theatre, 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 feel bad, right?

No. But just because you like him
so much, I'm wondering.

Well, 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 BRUSHES TEETH]

[WATER SPLASHES, SHE EXCLAIMS]

[SHE LAUGHS]

[SHE LAUGHS]

[BIRDSONG]

[CLOCK TICKS]

Oi! 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!

[BIRDSONG]

[COCKEREL CROWS IN DISTANCE]

[HE HUMS]

[CLOCK TICKS]

[WIND RUSTLES TREES;
BIRDSONG]

[DOOR CLOSES]

[DISTANT CREAKING]

[CLOCK TICKS]

[IN GERMAN] Mum.

I'd really like it if you'd...

If you'd call me back
to tell me how June is.

Thanks. Bye.

- Hey!
- [CHRIS] Hey.

How'd it go?

It was good. People were nice.

It was great to see The Silence there.

I talked too much, but...

- Want some tea?
- I'd love some, yeah.

I miss June.

Oh.

- I got a video from your mum.
- I didn't.

I know, but that's 'cause
I'm her favourite.

There you go.

[RECORDING PLAYS -
JUNE PLAYS WITH GRANDMA]

From the Life of Marionettes.
Pretty hardcore Bergman, there.

Yeah, but that's a German one.

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

- Not Monika.
- Yeah, Monika, please!

I've seen it too often.

- 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?

That's the one where the child's head
gets bashed against a boulder.

Yeah.

No, if we don't see The 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.

- The 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 and it's
going back to Stockholm tomorrow.

- What film?
- Cries and Whispers.

You wanted a nice Bergman.

All right, you can sit anywhere you want,
but not in that seat in the first row.

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

- Right?
- Thanks.

[PROJECTOR WHIRS]

[PROJECTOR WHIRS]

[BELL DINGS]

[SHE WAILS]

[WOMAN SPEAKS SWEDISH]

[SOMBRE INSTRUMENTAL MUSIC;
NO AUDIBLE DIALOGUE]

[RAINFALL]

It's like a horror movie
without catharsis.

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 and 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 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, this island,
beautiful landscapes...

Everything is less harsh
than in his movies.

Try this place in fucking January.

[CHRIS] 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. They just hurt me.

Why do you watch them, then?

Because I love them.

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

[SHE BREATHES HEAVILY]

Gina!

Please, anybody in here?

Please!

Please, I'm in danger, please!

Someone!

[SHE PANTS]

- Gina!
- [SHE PANTS]

[HE GROANS]

[HE GRUNTS]

[INDISTINCT CONVERSATION]

- Almost over.
- How's it doing?

Don't you ever watch your movies again?

- Nah. Hate it.
- Bergman used to say

that hell to him would be if he had to
watch his own films over and over again.

I agree.

The credits just started,
so we can move inside.

Okay.

[FAINT APPLAUSE]

[CHEERING]

[WOMAN, ON MIC] And please
welcome again, Anthony Sanders.

All of my life, I felt that I was...

on a tightrope, you know,
that I was kind of balancing.

And that, if I fell, if I fell off,
I'd just, I'd be lost,

I'd be completely gone. And, so,

as a film-maker, I only really felt...

..secure, I suppose,
and comfortable

if the central character of the story
I was telling at that particular time

was female.

The women,
they keep you in touch with reality.

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.

[INDISTINCT CONVERSATION]

[INDISTINCT CONVERSATION]

- Can I get these?
- [MAN] Yeah, sure.

800 crowns, please.

[BIRDSONG]

[PADLOCK CLACKS]

[MAN SPEAKS SWEDISH]

[IN ENGLISH] Over there.

- Have to go around.
- [CHRIS] Oh. Thank you.

- How are things through Bibi's glasses?
- Much better.

- Hampus.
- Chris.

You doing 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 Fårö.
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 in Gothenburg
with my girlfriend.

- Oh.
- Besides us, the theatre was empty

and we got into 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.

[WIND RUSTLES TREES]

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.

[HE SPEAKS SWEDISH]

[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.

[BUSTLING CONVERSATION]

- There you are.
- Thank you.

Thank you so much. It was fascinating.

- I admire everything you do.
- Oh, thanks a lot.

Can I have a photo, please?

- I just love your work. Keep going.
- Thank you.

Can I please have your autograph?

You're my favourite director.

You're the reason
I started studying cinema.

Thank you.

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 Fårö.

Now, if you'll all come into the bus...

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

Pleasure.

Francisco teaches
at University of Barcelona

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

- Wow.
- Yeah.

- Shall we?
- Yeah.

[WOMAN ON TV SPEAKS SWEDISH]

[INDISTINCT CONVERSATION]

[GUIDE] Okay, we're arriving at the spot

where Bergman shot
Through a Glass Darkly,

the film which allowed him
to discover Fårö...

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
would be far too expensive,

so they tried to persuade him
to film it in Sweden instead.

This place came to be around 1700,

when 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...

[HE SPEAKS SWEDISH]

..which means that when
Ullahau and Sandi hai meet,

Judgment Day is near.

But 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's two of them.
The north beach and the south beach.

The south beach is large,
with big waves,

but 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.

So...

the house in the film was here.

Actually, they only built the facade

and the interiors
were mostly shot in studio...

What happened to the house?

[GUIDE] 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...

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 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 Fårö,
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.

[DELICATE INSTRUMENTAL MUSIC]

Before making Persona,
Bergman had been hospitalised,

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.

[MUSIC CONTINUES]

[MAN] Is it Shame or The Shame?

[GUIDE] 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 CONTINUES]

[GUIDE] 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 grey.

[MUSIC CONTINUES]

Did you see? Jellyfish!

[SHE GASPS]

[SHE SQUEALS]

[SHE CHUCKLES]

[SHE GROANS]

[SHE LAUGHS]

[SHE SHRIEKS]

[SHE LAUGHS]

[MUSIC CONTINUES]

Would you like to buy some Lambskin?

Um... yeah.

[MUSIC CONTINUES]

[MUSIC CONCLUDES]

I can't choose.

I prefer the black, long-haired ones.

But they're more expensive.

[INDISTINCT CONVERSATION]

So, guys, guys!

We traditionally end the Bergman Safari
by having a lamb burger.

Is everyone up for it?

- All right!
- Yes!

Otherwise, you can have a veggie burger.

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

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, true.

- Thank you for the Hampus Safari.
- I hope you enjoyed it.

I loved it.

Don't forget your sheepskins!

- See you.
- Bye.

- Hey.
- Hey.

Très chic.

Thanks for the support.

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

That's all right.

How was it?

It was pretty good, actually.

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

- What happened?
- Must've been the burger.

So, where were you?

Driving around.

Oh, yeah? Driving around?

- I met a guy.
- Oh, you met a guy, did you?

- A student.
- Ooh, a student, was he?

A film student, from Stockholm.

Was he handsome? Was he sexy, was he?

Yeah.

Was he brilliant
when he talked about Bergman?

Not like you,
but his clumsiness has its charm.

Thanks. Shut up.

[PRINTER WHIRS]

[CLOCK TICKS]

Looking for something?

Mm?

- Mm.
- Mm.

[HE QUACKS]

[MELANCHOLY INSTRUMENTAL MUSIC]

[INDISTINCT CONVERSATION]

Hey! Hi.

I'm looking for the house
from Through a Glass Darkly.

Bergman's film?

Sorry, don't understand English.

Ingmar Bergman?

The film-maker who lived on the island.

Sorry.

[IN SWEDISH] Thanks.

Oh, come on.

[THUNDER RUMBLES]

[THUNDER RUMBLES, RAINFALL]

[DOOR OPENS]

Do you want to have lunch?

[SHE SIGHS]

Yikes.

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!

How's it going, where you at?

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.

Not possible.

I thought we spent our whole lives
saying the same thing?

We do, but from different perspectives.

You've just got to trust yourself.

Characters,

the dialogues,
the situations, it all fits,

but something is holding me back.
Something's 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 that easy!

You know how hard writing is for me.

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 honourable profession.

You know there is 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 tonne 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.

Can you just tell me
where it takes place?

Here.

- Here?! Fårö?
- Yeah!

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

Well, I thought you did.

No, I don't, because
you didn't tell me anything.

I've got a title.

You can keep it to yourself.

What's the matter?

Is it your script?

[SHE SOBS]

Miss June and want to go home?

Sure?

[BIRDSONG]

[WIND RUSTLES TREES]

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.

Okay.

So, it takes place over three days,

at a wedding.

I don't know where yet.

But... maybe a place like here.

Like Fårö...

An island actually would work very well.

And it could start on the plane.

Or maybe on a boat.

[LIGHT INSTRUMENTAL 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.

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]

[CHRIS] 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 Fårö.

Which is hardly insignificant to Amy,
as she's a director.

All right.

And Bergman occupies a very
important place in her imagination.

For many, he is a formidable reference,

but, for her, he is...

a sort of refuge, a consolation.

- Mm-hm.
- And yet...

[CHRIS] 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.

[CHRIS] They each went their own ways,
but Amy never forgot Joseph.

When they saw each other again,
years later,

they realised 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 any more.

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

So they gave up
and stopped seeing each other.

[CHRIS] 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 Fårö
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?

Uh, no, I have to go right back,
actually.

Duty calls.

Is it a problem
if I don't have 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 realised, the dress
I planned to wear, it's white.

It's my only nice dress.

Usually only the bride wears white.

- Shit.
- You're going to 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.

[FERRY ENGINE THRUMS]

You want go to the upper deck?

[BOAT HORN]

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 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.

They have like a medieval themed week,
where they...

- You went to that?
- Of course.

Did you do re-enactments?

Kind of.

What do you mean?

Albatross. We're here.

- Jonas?
- [INDISTINCT CONVERSATION]

- [WILMA] Nicolette?
- [PETER] Jonas?

Nicolette?

[INDISTINCT CONVERSATION CONTINUES]

Nicolette? Hi.

- You can't see my dress!
- Okay, sorry.

Really?

We found her. In the dress.

- How are you?
- I'm good.

Not too nervous?

- Yes, a bit, but compared to Jonas...
- I can imagine.

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

- 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!

[LIVELY CHATTER]

- Hey!
- How are you?

[INDISTINCT CONVERSATION]

I think we're down there.

- See you later.
- See you!

[LIVELY CONVERSATION;
CHILDREN CHATTER]

My grandparents grew up here,
so I spent my summer vacations here.

Yeah, so I know every inch.

Did you meet Bergman?

Uh, Bergman, Bergman, Bergman.

Why is Sweden
always synonymous with Bergman?

Oh, come on.
You're getting married in Fårö.

It's kind of his island.

Oh, "his" island? I don't know.

You've seen any of his movies?

Yeah, sure.

- Which ones?
- A lot of them.

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.

"My father was so patriarchal!"

[HE SOBS, MOCKINGLY]

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.

"Oh, no, not the demons again!"

Who gets an ulcer from being enlisted
in the Swedish army during World War II?

We were neutral!

"Oh, no, I can't...
I can't fight in the war,

"I have to fight my inner demons,

"because my daddy put up
scary paintings on our walls."

Come on. Fine, maybe
three critics thought he was...

amazing.

But there's a world
outside your own asshole.

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 going to go for a smoke.
- Yeah.

Do you have a cigarette?

Thanks.

Nicolette, I wanted to ask,

I realised the dress I planned
on wearing for the wedding...

- Yes.
- It's white.

Or off-white. Like a kind of beige.

Is it a problem?

It depends.

Is it white or beige?

Um...

Off-white? I guess someone without
a very sophisticated sense of nuance

might think it's white.

You don't have any others?

I do, they're just not as elegant.

- I can lend you one.
- Okay.

[INDISTINCT CONVERSATION;
LAIDBACK GUITAR MUSIC]

What are you doing?

[JOSEPH] Looking at the stars.

I'm gonna go.

[THOMAS] Okay. How?

[AMY] I rented a bike.

Do you think you can ride it?

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

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 patronise 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.

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 bare,

so, very early,

she goes to pick up Joseph.

She reaches Albatross, crosses
the garden, to the Bergman suite.

[BAMBOO CHIMES]

- Hi.
- Hi.

- Shall we go?
- Yeah.

[DELICATE INSTRUMENTAL 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 sculpted by the sea,
scattered along the northern coast.

[MUSIC CONTINUES]

They continue their bike ride,
passing through Helgumannen,

a former fishing village.

I feel like you're going to counsel me.

No-one is forcing you
to be here with me.

I know.

[MUSIC CONTINUES]

[MUSIC CONCLUDES]

[WIND RUSTLES TREES]

[MUSIC RESUMES]

[CHRIS] At sunset, they part ways.

- Bye.
- Bye.

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

[MUSIC CONTINUES]

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

that she finally sees him again.

She has given up on the white dress.

The bride and groom
march into the chapel.

[THEY SING IN SWEDISH]

[CHRIS] Amy looks at Joseph,
hoping he'll turn around.

Tears roll down her face.

Is it the emotions of the bride
and groom rubbing off on her?

The music?

Her feelings for Joseph?

Something else?

[IN SWEDISH] May these rings
be the symbol of their promise

of love and faithfulness.

Amen.

[IN ENGLISH] 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.

[CHRIS] Once the service is over,
the guests get into a bus

which takes them
to a large house by a lake

where the reception is held.

[LIVELY CHATTER, LAUGHTER]

[CHEERING]

[IN SWEDISH] Good.

[IN SWEDISH] Are you ready?

[CHEERING]

[LIVELY ELECTRONIC MUSIC]

[THEY SPEAK SWEDISH]

- [IN ENGLISH] Do you want a marshmallow?
- Sure.

[CHILDREN YELL, CHATTER]

[JOSEPH] I stole a bottle.

[MUSIC - "I LOVE TO LOVE"
BY TINA CHARLES]

It's Nicolette who dragged me along.

You know her.

Did you put that song on?

Come on.

[AMBIENT NOISE FADES, MUSIC CONTINUES]

[MUSIC CONTINUES;
WOMAN SINGS ALONG]

[DRIVER] Sudersand!

[WOMAN SINGS]

[THEY SPEAK SWEDISH]

[IN ENGLISH] We're going to the sauna
at the beach, if you want to join us.

[IN SWEDISH] What's
Norwegian for "dick"?

Pick.

What's so funny about that?

Yes, it's pick.

[THEY SPEAK SWEDISH]

[CONVERSATION CONTINUES]

[WAVES CRASH]

[YELLING IN DISTANCE]

[YELLING, LAUGHTER]

[INDISTINCT CONVERSATION]

[LOCK CLATTERS]

- [PHONE RINGS]
- Oh, shit.

Fuck, sorry.

Yeah?

[WIND RUSTLES TREES, WAVES LAP]

Wait.

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...

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.
- Huh?

Stop it.

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

Yes, you do...

[SHE SIGHS]

[WAVES LAP]

Sorry about that.

So, where were we?

We'd just left the sauna.

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.

Hi.

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 we'll meet up later?

Okay. When?

I don't know. I'll call.

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

melancholic Amy wanders
throughout Sudersand.

But two hours later, she's going mad.

[BAMBOO CHIMES]

The suite is empty. Joseph isn't there.

Amy?

[CHRIS] Then Hampus arrives
and suggests they play a game of Ludo.

The alcoholic version.

- [INDISTINCT CHATTER, LAUGHTER]
- Um...

One, two, three, four.

This... I don't understand this move

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

That's the rules now. We just go back...
We go backwards.

- Go backwards.
- Yeah.

- And this piece, 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.
- Yeah.

- To Amy rules.
- Yeah.

For Amy winnings. For Amy...

I don't know.

I don't know about that.
I'm not so sure.

I think...

[SHE CHUCKLES]

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

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

[INDISTINCT CHATTER, LAUGHTER]

Hello.

[CHRIS] On the last night,
Nicolette, an amateur singer,

performs a concert for her friends.

The first song I'm going to sing...

..is very special, for Jonas and I.

♪ Strawberries, cherries... ♪

[CHEERING, APPLAUSE]

♪ 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, oh, summer wine... ♪

[MUSIC CONTINUES, FAINTLY]

[LIVELY, INDISTINCT CHATTER]

Can I have a cigarette?

It's my last one. But we can share it.

[MUSIC PLAYS - "THE WINNER TAKES IT ALL"
BY ABBA]

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.

Oh, I love this.

[MUSIC CONTINUES, FAINTLY]

[INDISTINCT CHATTER]

[BEEP]

[MAN SPEAKS SWEDISH
ON ANSWERING MACHINE]

[SHE SIGHS]

[MUSIC, CHATTER CONTINUE]

[MUSIC - "THE WINNER TAKES IT ALL"
BY ABBA]

[MUSIC STOPS]

[BAMBOO CHIMES]

[INDISTINCT CHATTER]

- Have you seen Joseph?
- He left.

- He left?
- Yeah,

with Wilma and Peter.
They were taking the 11am ferry.

[BAMBOO CHIME]

Hey!

Are you okay?

[SHE 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 to hang herself,
at the wing of the Bergman mill,

- and then fail.
- Classic.

Anyway...

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, do you?

Why not?

- Why do you think?
- [PHONE RINGS]

Shit.

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'n'B.

Yes.

Take care driving our baby.

Always.

And good luck with the producers.

[BIRDSONG]

[DELICATE INSTRUMENTAL MUSIC]

There!

[SOMBRE INSTRUMENTAL MUSIC]

Hello?

[MUSIC CONTINUES]

Hello?

Someone here?

[MUSIC CONTINUES]

[SHE GASPS]

- You scared me.
- So did you!

It was open.

I should have locked the door
from the inside.

That's the rule.

You came back to Fårö?

- My grandfather died.
- I'm sorry.

So I came to light candles for 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 the bedsit table.

How are you? Any luck with the script?

I did an outline,

but haven't found an ending.

Yet.

[MUSIC CONTINUES]

This was his office?

Yeah.

- [MUSIC STOPS, ABRUPTLY]
- I came to listen to music,

then I fell asleep.

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

It's these lambskin benches.

[HE CHUCKLES]

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 TICKS]

[CLOCK CHIMES]

- Hi, Anders.
- Hey, Chris...

For a second I didn't know where I was.
Everything was mixed up.

- The crew left. I thought you'd gone too.
- I was tired.

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 favourite object here.

It's a model of the Dramaten,
the national theatre of Stockholm.

It was given to Bergman when he left.

And who is
in his favourite position, spying?

- Ingmar Bergman.
- [SHE CHUCKLES]

[LIVELY, INDISTINCT CHATTER]

[INDISTINCT CONVERSATION]

[LAUGHTER;
INDISTINCT CONVERSATION]

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 for you 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.

- Yeah.
- Bye.

Sleep well.

- Safe travels.
- Bye.

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 second last person I'd go see.

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

Oh, fuck.

Okay, enough, let's stop.

This game is 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.

[HE CHUCKLES]

Thanks for everything.

Please don't thank me.

You should get some sleep.

You have to be in shape tomorrow.

Go on, get going.

[MELANCHOLY INSTRUMENTAL MUSIC]

- Wanna go take a look?
- [JEAN] Yeah!

[MUSIC CONTINUES]

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

Yeah. It's the island of the director
you and Mummy like a lot.

Yep. That's it.

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

Did he go to heaven?

Mm...

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're going
to make a movie with ghosts!

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

She read it on the internet!

- She's on the internet now, is she?
- Yeah. Can you tell me your ghost story?

It's a zombie story. Right?

That's better.

Zombies. All right?

And there's this monster.

This gigantic, like...

mushrooms coming out of his bum.

Like, exploding ears.

Covered in poo.

From top to bottom right?

And blood bleeding from his eyes.

And there's a giant girl.

[BIRDSONG]

All right?

If you go up there...

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

Go on, go for it.

June!

[THEY LAUGH]

Oh!

My baby.

My love.

Mmm.

[MUSIC - "VAN KAN SEGLA"
BY LEE HAZLEWOOD]

[MUSIC CONTINUES]

[MUSIC CONCLUDES]

[MUSIC - "I LOVE TO LOVE (BUT MY BABY
LOVES TO DANCE)" BY TINA CHARLES]

[MUSIC FADES]