The Seventh Seal

Feb 22, 2011 — This week, Time is all too happy to judge a movie by its cover. Gilbert Cruz, an editor at the magazine, has compiled a list called “Top 10 Cool Criterion Collection Covers.” Cruz’s taste in design tends toward illustration over...

Feb 1, 2011 — This essay was originally published in the booklet accompanying the 2006 DVD release of The Double Life of Véronique.At the opening ceremony of the 1996 Cannes Film Festival, actress Irène Jacob was asked to pay tribute to Krzysztof Kieślowski, who...

Oct 12, 2010 — Ingmar Bergman’s Ansiktet (1958)—the title literally translates as The Face, though in North America it was released as The Magician—is arguably one of his most underrated achievements. Its undeservedly lowly standing may perhaps be attributed to its chronological position in...

Sep 28, 2009 — In Stockholm, an auction of personal belongings from the estate of the great director Ingmar Bergman has just ended. The items ranged from parts of his daily life—his writing desk and wastepaper basket—to the chess set used in The Seventh...

Nov 19, 2007 — Ingmar Bergman made some outstanding films before Sawdust and Tinsel (1953). But that film, released in America under the meretricious title The Naked Night—and known in Sweden as The Clown’s Evening—was the first that no other director could have made....

Oct 16, 2007 — Ididn’t create the Criterion office’s word-of-the-day bulletin board, but I’m the latest logophile to carry the torch, er, dry-erase marker and update the white board in the kitchen. Occasionally someone will ask me what a certain word means (psocid was...

Mar 26, 2007 — Across five films, the Swedish director defined his guiding themes and cinematic style.

Jan 23, 2006 — Ingmar Bergman was enjoying one of the happiest spells of his life while making The Virgin Spring (1960). On a personal level, he was felicitously ensconced in his fourth marriage, to the concert pianist Käbi Laretei. And, professionally, he was...

Aug 22, 2005 — This delicate, fascinating film is self-consciously, almost militantly, naive, and it remains something of an anomaly in Roberto Rossellini’s body of work.

Aug 18, 2003 — Ingmar Bergman’s chamber film is his most concentrated inquiry into the significance of religion, and of Lutheranism specifically.