Bergman í Bíó Paradís – Lokaviðburður!

Pallborðsumræður hefjast kl.16:00 og í beinu framhaldi verður kvikmyndin Haustsónatan (Höstsonaten) sýnd kl.17:00. FRÍTT INN!

Pallborðsumræðurnar munu fjalla um áhrif Bergmans hér á landi og sér í lagi á íslenska kvikmyndalist. Kvikmyndafræðingurinn Oddný Sen mun stýra umræðunum og í pallborðinu verða eftirfarandi íslenskir kvikmyndagerðarmenn:
– Kristín Jóhannesdóttir kvikmyndaleikstjóri
– Viðar Víkingsson kvikmyndagerðamaður
– Lárus Ýmir Óskarsson kvikmyndaleikstjóri

Kvikmyndin Haustsónatan segir frá heimsfrægum píanóleikara, Charlotte (Ingrid Bergmann), sem hverfur á vit dóttur sinnar Evu (Liv Ullmann), þegar ástvinur hennar deyr. Dóttirin er prestfrú úti á landi i Noregi — móðirin er lífsvön heimsdama. Myndin lýsir dögum, sem móðirin býr hjá dótturinni, sambandi þeirra við hvor aðra og umheiminn. Leikur Ingrid Bergmann hefur verið mjög rómaður í þessari mynd og raunar má vart á milli sjá hvor stendur sig betur, Liv eða Ingrid, en þær eru á tjaldinu nær allan tímann. Myndin er löng og áhrifamikil og óhætt að mæla með henni við þá, sem hafa áhuga á mannlegum samskiptum, tilfinningum og frábærum leik.

Í tilefni af hundrað ára afmæli Ingmar Bergmans býður Sænska sendiráðið í samstarfi við Bíó Paradís upp á sérstaka dagskrá til heiðurs leikstjóranum frá  fimmtudeginum 30. ágúst til sunnudagsins 9. september. Sýndar verða fjórar valdar bíómyndir eftir meistara Bergman, boðið verður upp á pallborðsumræður í tengslum við myndirnar og sérstaka gesti. Einnig verður sett upp sýning í anddyri Bíó Paradísar með æviágripi Bergmans í máli og myndum ásamt vídeósýningu með 32 sjaldgæfum myndbrotum sem veita innsýn í líf og störf listamannsins. Á opnunardegi dagskránnar verður fluttur sérstakur listagjörningur til að heiðra bæði líf og dauða. Frítt er inn á alla viðburði BERGMAN Í BÍÓ PARADÍS og allir eru hjartanlega velkomnir. 

Nánara yfirlit um dagskrá og viðburði má finna hér: www.bioparadis.is/vidburdir/bergman-i-bio-paradis/

English

A married daughter who longs for her mother’s love is visited by the latter, a successful concert pianist.

After having neglected her children for many years, world famous pianist Charlotte visits her daughter Eva in her home. To her surprise she finds her other daughter, Helena, there as well. Helena is mentally disabled, and Eva has taken Helena out of the institution where their mother had placed her. The tension between Charlotte and Eva only builds up slowly, until a nightly conversation releases all the things they have wanted to tell each other.

Ingmar Bergman: “The relationship between mother and daughter has hardly ever been treated in literature or cinema. I have become fascinated by the tension between them.” A female pianist devoted to her career pays a 36-hour visit to her daughter, a priest´s wife i northern Norway. As they talk, we are shown flashbacks from their lives. — ”The actual filming was draining. I did not have what one would call difficulties in my working relationship with Ingrid Bergman. rather, it was a kind of language barrier, but in a profound sense. Starting on the first day when we all read the script together in the rehearsel studio, I discovered that she had rehearsed her entire part in front of the mirror, complete with intonations and self-conscious gestures. It was clear that she had a different approach to her profession than the rest of us. She was still living in the 1940s. I believe that she possessed some sort of inspired system of working, albeit a strange one. In spite of her mechanisms for receiving director’s cues not being placed where one expected to find them – and where they ought to be – she still must have been somehow receptive to suggestions from two or three of the former directors. After all, she had done excellent work in several American films. In Hitchcock’s films, for instance, she is always magnificent. She detested the man. I belive that with her he never hesitated to be disrespectful and arrogant, which evidently was precisely the best method to make her listen.” from ’Images: My Life in Film’ by Ingmar Bergman.