red

Leann 2022-04-21 09:03:02

"Look at yourself in the mirror, you are beautiful, you may be more beautiful now than before, but you have also changed a lot, and I want you to understand how you have changed. Now your eyes are no longer sharp, and you care about trivial matters. , you used to go forward without any concealment. Now your mouth has shown dissatisfaction and desire, but you used to be very mild. You are pale now, you use makeup, you are beautiful, wide Forehead, now there are four wrinkles above each eyebrow, no, you can't see it in this light, but you can see it during the day, do you know why you have these wrinkles? Indifference. And this one from the ear to the The perfect line of the jaw is no longer so obvious. Your lazy life has changed this line. And here, by the bridge of your nose, why do you always sneer? Did you see that, you sneered too much, See? Look under your eyes, the tiny, barely visible streaks are due to your burnout."

"Did you really see this on my face?"

"No, but I can feel it when I kiss you."

"I don't want you to do it, I don't want it. I don't need you to be nice to me. I can't, I can't take it anymore. No! Leave me alone and don't touch me."

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Extended Reading
  • Sam 2022-03-28 09:01:08

    8.5 points or so. Shouts and whispers, outbursts and softness, seemed to separate Maria from the other two sisters. Is Bergman still partial to Uman so that's why? No, no, there is also a woman in the film - Anna, and Morrow said that Bergman's preference has always been the "Anna" in his play. The taciturn maid is the only redemption in the family's tragic memory, as if the director hoped to use it to mend his own. So after everything fell apart, we saw the most beautiful scene: three young and kind sisters playing on a swing in the woods under the sun, the smiling maid gently rocked them for them. At that moment time seemed to stand still, if at that moment time stopped...

  • Francisco 2022-03-26 09:01:10

    This picture is too beautiful, even Caravaggio in several places. Interestingly, similar structures such as "Sick-Healthy People", closed spaces, and character wrestling appeared in "Still in the Mirror" in 1961, "Silence" in 1963, and "Masquerade" in 1966. appeared again. The subject of discussion is still the loss of communication and discourse, and there are still inescapable "Bergmanian propositions"—love and alienation for mothers, hatred for brothers, and what he calls "emotional blackmail," and his Tirelessly questioning God. Even the "Agnes Resurrection" scene in the details comes from his ten-year-old experience of being locked up in a morgue. The real Bergman I like exists in these four women, "I don't trust anyone, I don't love anyone, and I don't miss anyone", harsh, indifferent, and Anna is his secret room. The open gap is absolutely gentle. Like two sides of a coin, firmly attached to each other. (I love him 555)

Cries & Whispers quotes

  • Agnes: Can't anyone help me?

    Anna: It's just a dream, Agnes.

    Agnes: No, it's not a dream. Perhaps it's a dream for you, but not for me.

  • Fredrik: The funeral was tolerable. No one wept or grew hysterical.