Lying beneath the arches and mosaics of the moderately decorated architecture, the dusty half empty pews, and the flooded natural sun leaking down over the congregation is a clandestine struggle quietly waging war within us. In a Bergman film, this is merely setting the stage.

Winter Light is an example of a perfect film at least in the Bergman vocabulary sense. For a film designed almost in a theatrical concept for its minimalism, it remains largely cinematic and achieves a great deal over the course of a hour in real time and only an afternoon in film time. In the space between morning congregation and afternoon ceremonies, the lives of a small group of individuals is tested in the most…

"I am the vine, ye are the branches: He that abideth in me, and I in him, the same bringeth forth much fruit: for without me ye can do nothing." (John 15:5)

Second part of the auteur's trilogy dealing with man's relationship with God. It is literally impossible to relate with this masterpiece's protagonist unless you are a son of God. "But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name." (John 1:12)

What is so absolutely accurate and brilliant about the movie is the fact that it states how agnostics, atheists, etc. lose their credibility in God based on the actions of humans, not…

I am going to ramble until I make sense of my thoughts on this:

It is no coincidence, I think, that the one person in this film to have a deeper understanding of Jesus and his own faith does so through open compassion. Algot, who is apparently physically disabled, dismisses the physical pain of Jesus in favor of the spiritual and emotional pain of being abandoned, citing it as the more severe form of pain suffered during the Passion. His insight into Jesus' suffering is in contrast to the faithless and broken Tomas, who has failed (in a manner that is, to me, a personally devastating manner) to reach out with compassion to anyone (in the course of the film).…

The second film in Ingmar Bergman's trilogy takes a look at a Pastor (Gunnar Bjornstrand) who is losing his faith in God while at the same time trying to fight off the advances of a woman (Ingrid Thulin).

I thought this second film was a minor step up but like that film, it seems this one will get better with repeat viewings since there's so much psychological feelings going on throughout the film. Once again the strongest aspect are the performances with Bjornstrand giving the best one. I hate watching movies where someone is thinking yet you can look at them and tell the only thing they're really thinking about his their next line of dialogue. At anytime in this…

أعلن بيرجمان أن هذا العمل هو أكثر الأعمال المفضلة لديه والأكثر حميمية لأنه يتطرق إلى قضايا شخصية لحياته وكذلك رؤيته حول العالم – المصدر ويكيبيديا
لذلك أرى أن هذا العمل يتميز - وهو الثانى فى الثلاثية - بوضوح الفكرة وقوتها فى العرض وقدرتها على إعلان نفسها بطريقة شفافة وميلودرامية بشكل كبير .
محور القصة الأساسى هو ( توماس ) راهب فى كنيسة يعيش حالة من الصراع الوجودى بعدما فقد زوجته التى كانت المصدر الوحيد للحبّ فى حياته ، مما يجعله فى حالة متوترة وغير مستقرة ، وفى هذه الأثناء يزوره صياد يطلب منه أن يساعده ويرشده للطريق لأنه دخل فى حالة من الاكتئاب بعدما سمع أن الصين تجهز لصنع قنبلة نووية ، ولكن من سوء الحظ يقود الراهب الحوار بشكل…

Unfortunately, probably came in with the wrong expectations of what this was going to be, which may have put me in the wrong place to properly appreciate it. Was expecting spiritual angst and crisis, but that's not really what Tomas is experiencing; he seems to be more someone who has lost his faith but is seeking, without hopefulness, to regain it, which is an interesting arc in its own right, only I don't think I caught onto it soon enough to fully appreciate it. The nonbeliever Märta's parallel arc is even more interesting, in that she's looking for something to believe in, but doesn't have the same restrictions on what she wants it to be, and would just as soon…