Their relationship is presented without exposition. Krieps is sparky and elegant while Roth is earnest and humorous. Hansen-Løve threads in an exploration of what it looks like to find meaning in films, and the complexity of our parasocial intimacy with filmmakers whose work moves us. The film tussles with the discrepancy between the reverence afforded to Bergman’s status as an artist and his neglectful domestic conduct. (He had nine children from six women and was not interested in being a father.) This frustrates Chris who likes there to be “coherence” between film and filmmaker and she grills a relatively untroubled Tony. The landscape of the island is inextricably linked to his films, like the pebble beach surrounded by rugged rocks where Liv Ullmann and Bibi Andersson had it out in Persona. There are rumours of Bergman’s ghost switching on lights. Bergman’s ghost hangs over the island – a mildly oppressive presence that jars with the sparkling lakes and picturesque windmills that whizz past as you travel the roads by car or bike. I have visited Fårö, a serene yet bizarre place where there are more fields than people (population 505 at the time of my visit). The duo end up having a jellyfish fight in the summer sea in one ludicrously joyful scene.
#JELLYFISSH HIDEWAY LIGHTS YOUTUBE FREE#
The tension introduced by this loaded setting is quickly born out as Chris and Tony are pulled in different directions: he towards public-facing duties at the Bergman Centre where he introduces his films, does panels and generally plays the role of visiting luminary while she is free to go her own way, accepting an invitation from a young student, Hampus (Hampus Nordenson), to have a personal tour of the island, complete with swigs of local cider.
This bond is tested after they arrive on Bergman Island and are shown around their temporary home which, their host tells them, is where Bergman shot Scenes From a Marriage, a film responsible for “millions of divorces”. Touches, like Tony giving Chris his sunglasses after she discovers hers are lost, show the tender bond that the couple share. When we meet Chris and Tony they are on the plane that will lead them to a car, that will lead them to a boat, that will take them to Fårö where they are staying as artists in residence. Chris (Vicky Krieps) and Tony (Tim Roth) are a filmmaker couple who travel to Fårö, the Swedish island where Ingmar Bergman lived and shot some of his most famous films: Persona, Through a Glass Darkly, Shame and Scenes From a Marriage. So, I watched the film looking for my answer, which took awhile to rise up out of its docu-realistic set-up. Bergman Island is the last chapter to Goodbye First Love.” She said, “Think of that question when you see Bergman Island, because it is a little bit of an answer. Hansen-Løve has owned that the story is transposed from her experiences, so I asked if Goodbye First Love was a communication with her Sullivan. Bliss follows until Sullivan breaks up with her by letter again. Their passion rekindles like dry wood meeting a naked flame. Many years later, as if it was the most natural thing in the world, Sullivan returns.
She enters a relationship with a very different type of man in his forties, who cherishes her. He loves her but is restless to leave Paris in order to travel around South America, and ends up breaking up with her by letter. When the film opens she is a 15-year-old schoolgirl obsessively in love with her 19-year-old boyfriend Sullivan (Sebastian Urzendowsky). I flew to Paris in 2019 to interview the French filmmaker Mia Hansen-Løve about her autobiographical 2011 film, Goodbye First Love, which covers over a decade in the life of Camille (Lola Créton). A masterful dissection of love, memory and autobiography from the ever-wonderful French maestro, Mia Hansen-Løve.
0 kommentar(er)
