The Bergman Paradox

Ingmar Bergman’s films have been described alternately as “small” psychodramas writ large on screen to masterpieces tackling the “big” questions of life, reducing them to screen size. His movies could encompass two such disparate ideas only if religion, relationships, neuroses, life, death, fear, grand theories and tiny uncertainties were all one and the same. So this is the case, the very definition of art.