Bergman marathon continues with a film many consider to be one of the master's greatest works. While it is not my favorite thus far, I do still love The Virgin Spring as a meticulously realized medieval drama that has visual and narrative similarities to Kurosawa's Rashomon (minus the relativism of truth). My one minor complaint is that the story conforms to a familiar didactic structure and you easily anticipate every beat as it unfolds; still, there is a perverse joy in just watching how the drama plays out and waiting for the characters to catch up to your foreknowledge of tragedy. This is definitely one of Bergman's most beautiful looking films; Max Von Sydow looks absolutely monumental, like he was hollowed out and carved from wood, a living breathing relic of medieval art, and Birgitta Pettersson, as his daughter, seems an ornamental jewel set against everything brute in man and nature.