Writer-director Mia Hansen-Løve’s seventh feature offers a languid rumination on the intersection of art and life. Likely semi-autobiographical, the narrative follows a couple who are both filmmakers—Chris (Vicky Krieps) and Tony (Tim Roth)—coming to the island of Farö, off the coast of Sweden, where Ingmar Bergman lived and worked, to write their latest screenplays. (Hansen-Løve initially appeared in films by and subsequently was in a long relationship—2002-2017—with renowned French director Olivier Assayas).
Although the pair are affectionate, it’s clear that—at least in this setting—Tony, who gives a masterclass on filmmaking and is mobbed for autographs and selfies, is the center of attention.
Early in the film, someone remarks that Bergman’s classic “Scenes from a Marriage” was a film that made millions of couples divorce, introducing a slight sense of foreboding. Yet, unlike Bergman’s characters—whose confrontations can be passionate and sometimes violent—Chris and Tony are decidedly low-key. She is minorly frustrated that Tony will not help her with her screenplay, while Tony is a bit irritated when Chris fails to show up for a planned Bergman Safari tour to places on the island that were meaningful to Bergman and his films.
Roughly halfway through, the narrative introduces a film within the film, as Chris takes a walk with Tony and describes the plot of her screenplay. As she relates her story, the scene abruptly shifts to follow the action that Chris is describing. Amy (Mia Wasikowska) is coming to Farö for a friend’s wedding; also attending is an old flame, Joseph (Anders Danielsen Lie). Although both are now in other relationships, Amy and Joseph circle each other, flirt, and eventually make love, setting off disparate feelings in the characters of longing and shame.
Bergman Island contains one last twist—albeit somewhat ambiguous—that blurs the line dividing fiction and reality, as life becomes art and vice versa.
Presented with a 2K digital master, extras include new interviews with Hansen-Løve and Krieps, actor Gabe Klinger’s 2021 short film Bergman’s Ghosts (made during the filming of “Bergman Island”), and a leaflet with an essay by critic Devika Girish.
Although the shadow of Ingmar Bergman hangs heavily over Bergman Island, Hansen-Løve’s film is almost diametrically opposed in style to what we think of as classic Bergman; instead of black and white scenes in a reduced aspect ratio, Hansen-Løve delivers sun-drenched anamorphic imagery in glorious color.
General viewers may not be drawn to what is often a very insular film about filmmaking that also features numerous references to legendary Swedish director Bergman (the rare jokes can be a bit dry—as when Bergman’s Cries and Whispers is referred to as “a nice film”). But film buffs will certainly enjoy this relationship drama in which cinema is itself a central aspect of the character’s lives. Recommended.