problem is that this analysis is based on his knowledge and understanding of religion. He is a believer first (a different question for piety and piety), and then a struggling skeptic. In my opinion, his suspicion of faith in "Winter" is not universal, at least it does not resonate with people like me. For example, suspicion of the danger of China’s nuclear war and suicide is a black humor to me, and a serious attitude is a bit inexplicable to me.
There is no doubt that Bergman's views on Christianity are very profound, otherwise he would not cast doubt on the existence of God. But this kind of questioning was based on the dispute between him and his father, who was a pastor, when he was young, so it had a strong impact on believers and those who were ambiguous in religious beliefs. But not for me, because for me, a person who does not believe in Jesus Allah or the Buddha, the few examples of loss of faith that Bergman cited in "Winter" are not universal, and they lack a logical core.
Regardless of whether I am a theist or an atheist, at least I have a deep distrust of religion, and I am rational and critical of religion from an artistic point of view. This may be a gap that I cannot cross when I understand Bergman's trilogy of faith.
Fortunately, he is still the greatest director in the world. Aside from these contents, his light and shadow can be described as wonderfully used. Several side lights outline the entangled heart of people, but it seems that there is a god watching from the side. Some people say that they are listening to Bach's Gothenburg Variations, and I think it's like this.
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