Listonixio Fresh and Exciting

Sharkflei Your blood may run cold, but you now find yourself pinioned to the story.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

saig mutallimov This picture is in the spirit of magical realism, where the elements of mysticism are interwoven, which play a role in the search for the answers posed by the author about the existence of God, about the crisis of religion and the value of family and love. The author of the film does not usually put points, but shows the final situation.This episode smooths out suspicion from the previous situation, there is no disharmonious sense of the possibility of tragic events and there is no optimistic mood at the same time. Everything is natural and everything can be.The picture really deserves the "Oscar" in the category "Best Foreign Film" and for Ingmar Bergman it became the third gift from the Academy.In the cinemas was a shortened version of the film little more than 3 hours, the full directors version is 4 series with a total time over 5 hours.Strong and beautiful film from Ingmar Bergman, I recommend to view. 9 out of 10.

Anssi Vartiainen Ingmar Bergman's farewell to cinema, being his last feature film. Or rather it got torn down into one as it was originally an over 5 hour TV mini series. The film depicts the lives of its title characters, Fanny and Alexander, and their extended family, the Ekdahls, a wealthy aristocratic family living in the early 20th century Uppsala, Sweden.I've personally only seen the mini series, so I'm a bit unclear as to what was taken out for the 3 hour feature version, but let's talk about the story as a whole. The film is a pretty straightforward period drama, which is a bit surprising, given that Bergman has a reputation for the artistic side of film making. And yes, there are hints of that in this film, but not all that many. It's mainly at the very beginning, and then during the fifth act. I'd even go so far as to say that the second and third acts are downright clichéd and dull. That's how formulaic they are.That being said, the acting is really good, the sets and costumes are gorgeous, there are some truly touching scenes even in the dullest acts, and the characters, the Ekdahls especially, are remarkably likable. The first act might be some of the finest character and world building I've seen in years. There's a metric ton of characters to introduce, all with their quirks and motivations, yet the film pulls it off flawlessly. Well, at least the mini series.Does the rest of the film meet the expectations laid out by this marvelous first act? Yes and no. As I've said, the second and third act are kind of clichéd, and the final act gets really bizarre, but I'll give it this: It's memorable. I'll remember this film. I enjoyed watching it, and while it might not be the finest drama I've ever seen, at least I got something out of it. Which is not as common as you'd think.

a_wemme I've seen this movie twice in my life. The first time I was 18 years old, I came home an afternoon after school and Fanny and Alexander was on TV. Having heard of it endlessly throughout my childhood (pretty much unavoidable as a Swede), I was intrigued. After a few minutes, I decided I couldn't stop watching. I was completely mesmerized. I couldn't put my finger on it, but I had never seen anything like it before. I ended up watching the whole three hours (cinematic release, unfortunately) and postponing whatever plans I had. And it stayed with me. Fastforward a few years and last week, I watched this movie again, this time of older age, having seen several other Bergman movies, having read books about him and with an education in film studies. And how I cried. There is something about Ingmar Bergman that has an amazing capacity to mediate and depict feelings and thoughts I never knew how to put word to. This masterpiece, as the climactic final chapter to Ingmar Bergmans magnificent directing career, has everything. It leads you through life and death, through love and hate, through magic and disbelief, through hope and despair. Bergman has a reputation of being difficult and slow, and rightfully so (although many of his other films are fantastic too). But Fanny and Alexander is easier than his others, yet also more graceful and whole. Only once before have I experienced characters in a film resonating profound feelings and emotions of mine, and that was in Persona, another Bergman movie. Seeing so many of his actors once again on screen, this time of old age, many today deceased, join together because "everything must carry on as usual". I experienced a chilling encounter with life, mortality but also the hope in spirituality and beauty. Having dived into the great well of beautiful art that is Bergmans life and career, I am of course biased. But even before having inserted myself in his works, I found this movie absolutely magnificent. And I hope you might too.

gummo_rabbit Ever since my first love handed me a worn VHS tape with the theatrical version of 'Fanny and Alexander' on it, saying: "This is you, this is your story", I became wildly curious to see it, as well as flattered by being introduced to a masterpiece in such a way. Of course, the tape was so worn from multiple viewings that by the time I got round to it I couldn't watch it properly. It took me a couple of years before I finally saw it in a cinema, and I came outside just reeling. Now, more than ten years later, having grown familiar with the TV version as well, I am still in awe.This week I am watching the TV version (on my Criterion DVD), one episode at a time. The Prologue alone just blew me away. Visually, it is as precise and complete as it gets; I wouldn't hesitate to say it touches perfection. I find it so powerful in the way it treats its themes - most notably the power of imagination in childhood - that most scenes have become an archetype in my personal visual vocabulary. I think that's the mark of truly great art. My first love and I lost touch long ago; I could never thank him enough for handing me this treasure.