A travers le miroir

  • Suède Såsom i en spegel (plus)
Drame / Psychologique
Suède, 1961, 89 min


Ingmar Bergman


Ingmar Bergman


Sven Nykvist


Erik Nordgren
(autres professions)

VOD (1)


Quatre membres d’une même famille sont réunis sur l’île de Farö pour passer ensemble quelques jours de vacances. Il y a là Karin, jeune femme souffrant de troubles mentaux, son mari Martin, son jeune frère Minus et leur père David, écrivain raté qui n’a jamais été très présent dans la vie de ses enfants. Les trois hommes tentent de réconforter au mieux Karin mais cette dernière sombre dans des délires de plus en plus paranoïaques… (Carlotta Films)


Vidéo (1)


Critiques (3)


Toutes les critiques de l’utilisateur·trice

anglais Ingmar Bergman simply isn't for everyone, but with each film, he proves how deeply he thought about the world and its people. It's truly a powerful statement about what happens within a person, what a person does, and how a person thinks. However, the film is difficult to get into, which is due to its focus on only a small group of characters and a certain bleakness. ()


Toutes les critiques de l’utilisateur·trice

anglais It reminded me of Fellini's . A heavy, hopeless film that drags on as if someone had cut off both its legs. A suffocating and darkened testimony of the disintegration of personality, the search for God and love for a neighbor, whilst at the same time groped questioning the price of art in the face of a concrete life tragedy. The excellent exteriors of Fårö island (?) add even more authenticity to traditionally captivating acting. Sometimes the film goes so deep that it makes you feel cold, and at other times it gets a little confused in a kind of creative hopelessness… ()



Toutes les critiques de l’utilisateur·trice

anglais I stand firmly behind Bergman and respect his creative ideas – in this case the search for love and divine hope through the mental suffering of a loved one –, but Through a Glass Darkly reminded me all too strikingly of the melancholic films of Michelangelo Antonioni. A brutally tedious pace, lots of existential dialogue, long close-ups of the female protagonist’s face and, most importantly, lots of obligatory thematic filler in the empty space of the simple but unnecessarily bloated story of four characters. Again, I appreciate the mystical formal level and the impressive shadow play, but content-wise I'm disappointed. The plot around severe mental illness looks interesting, but in juxtaposition with the traditionally elusive nature of its characters, rational rather than emotional, it feels somewhat implausible and fake. I wish Ingmar had written a little more relaxed comedies, Smiles of a Summer Night was a lot more appealing. ()

Photos (62)