The whole film is like the self-healing history of daughter Eva. The role of the pastor's husband is both comforting and confusing. The comfort is that he is the ideal partner, love, tolerance, and most importantly, understanding. But unconditional love makes people puzzled. Love is a mysterious and doubtful existence, a fantasy. Once it becomes a constant in life, it will inevitably make people panic. His existence is more like a psychotherapist in the film, making people peaceful, relaxed and open to heart. For example, the letter Eva in the film will be seen by the pastor. It is not a simple trust, but the pastor is a mirror. She expects From this reflection, we get tolerance, security and introspection. Their marriage was the beginning of Eva's self-healing.
The pastor told Charlotte about Eva's confession before marriage, "I don't love you", and I thought of myself, the corners I have never dared to touch - the escape of love and incompetence, ignorance, indifference, fickleness , but because there is no Eva's courage to confess and appear despicable and cowardly.
The subsequent birth of the son allowed Eva to experience the empathic structure of the mother-son relationship, the beginning of learning to love while healing the trauma of the old mother-daughter, and after the death of the son, she took over the aphasia sister and continued it.
Seven years later, Eva thinks that she has recovered and become healthy, and she meets her mother again. After several frictions, people feel suffocated. The incomprehension, separation and dislocation between people are caused by the most intimate relationship. All this is even more helpless and hopeless, until the mutual conversion between love and hate is presented, and people have to reconsider what love is, whether love has the best form of existence, or even whether love itself is illusory, and how much harm is there in the world With love as a weapon.
With a stellar artistic career, conflicted family relationships, a pastor father, Bergman herself is more like Eva and Charlotte. The play is genius, and there is no lack of cinematic sense. The family in the warm color is more like a cold court. In the face of the final outcome, whether this relationship is reunited, and whether it is a new love-hate cycle, the hearts of the audience and the people in the film. They are all like aphasia that cannot be described or predicted, all stemming from the vagueness and inequality of love itself.
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