Two sisters kiss each other on the lips and kiss each other’s hands. Non sexual
This movie is emotional and graphic in detail.
A woman is completely naked when changing her clothes. Her entire front body is seen including her breasts and lower genitals. Also, a firm view of her ass is seen. The scene last for only 15-20 seconds, though.
It is implied that a man and a woman are having an affair. It does not last long, though.
A woman puts glass in her vagina to drive away her husband. Nothing explicit is shown.
A woman undresses and her breasts are seen.
When consoling a sick woman, a maid unbuttons her blouse. Breasts and upper pubic area are visible.
A woman begins to kiss her sister on the lips.


Film review:Translated by www.rabudo-ru.com


Shout love in the face of death

——Read Bergman’s film shout and whisper

“Shout and whisper” was filmed in 1971, when Bergman had denied the existence of God. If there is God, people can expect a world after death, and they can also appeal to God in the face of endless loneliness of death. The world after death, whether heaven or hell, finally gives people a place to convert their souls. But without God, the world will completely restore its cruel material nature, heaven and hell disappear in the void, and the fear of death has become the source of loneliness that everyone can’t get rid of. Without God, or God is dead, how should people live? I’m afraid this is the problem thrown to us by shout and whisper.

Annie’s struggle before her death was soul stirring. Her heavy and rough breathing could make every audience feel short of breath and stuffy. Breathing is the evidence that animals live. Every breath she breathes, every breath we breathe, is a tug of war with death. She focused the rest of her life on one night.

Annie always shouted, “I’m in pain!” But we don’t know what disease Anne has, because it doesn’t need to be explained. Her disease and her sister’s disease, like ours, are death. A terminal illness is just a metaphor for death. Everyone must suffer from a terminal illness. This metaphor is not unfamiliar to us. In the seventh seal, the plague sweeping Europe also metaphors death. But Annie is much smarter than her sisters. She has realized that she has felt her terminal illness and the loneliness and pain of life. From the moment we realize that we will die, we will face eternal loneliness and pain. And Anne’s sisters are still in a state of blankness and ignorance.

According to the priest’s prayer, Anne is a devout believer, and her faith in God even exceeds that of the priest himself. However, in her dying cry, she always calls for sisters and Anna, and always hopes to get the love of sisters and Anna rather than God’s mercy. She never called out the name of God. Even if she cried to God in her heart, God would not respond. In the eyes of us ordinary people, since Jesus, God has no longer responded to the cry of believers. Anne’s cry was also not answered by her sisters. After her resurrection, she first called in Karin, who coldly refused her, and then called in Maria. Maria ran away in fear when Anne tried to kiss her. Only Anna didn’t abandon her. Anna held her in her arms like the virgin holding the dead Jesus. In Annie’s memory, she longed for the love of her noble and indifferent mother and was deeply grateful for her occasional kindness and proximity. She also longed for the doctor’s love. She put the doctor’s hand on her chest, but the doctor would obviously be wrong. The doctor thought it was a Maria seduction.

Why did Anne come back from the dead, or why didn’t Anne want to die? Was she really blocked on the way to the nether world as Bergman himself said? I guess her soul has gone to the kingdom of death, where she did not find God, heaven and hell. There is only eternal loneliness and emptiness, so she wants to come back. She knows that love on earth is the end of love. She came back and wanted to tell her sisters everything after their death, but all she got from her resurrection was the rejection of her sisters. The cold Carlin said, “I don’t love you, I never loved you.” The hypocritical Maria said, “I still have York.” Fear of death is human nature, but in the face of Anne’s resurrection trial, Karin’s answer is indifference, and Maria’s answer is hypocrisy. Indifference and hypocrisy also devour Anne’s nostalgia for the world, and she can only return to the lonely death.

Anna is the image of a mother. In the first half of the film, Anna has a daughter who is ill. Later, the daughter disappears. When Anne resurrected, Anna first heard the child’s cry, and then the cry was replaced by Anne’s heavy breathing. In fact, Anne took the place of Anna’s daughter. There are two scenes in the film where Anna is half @ naked and hugs Anne in the plump milk @@ room. This is Anne’s wish to return to her mother’s arms. Only in her mother’s arms can Anne feel peace and peace and forget death for the time being.

Anne’s desire for love is reflected in the desire for communication, but communication is impossible. According to Bergman on film, Karin is the strongest one. Her “strength” is a way of self-protection, and the extreme strength on the surface actually implies her extreme vulnerability in the heart. In the memory, she and her husband sat opposite to each other and had no communication except for eating like animals. Karin broke a glass. According to Freud, there is no forgetting and unconscious behavior without reason. This little action is her invitation to her husband’s heart. Can her husband show some concern? But the husband just looked at her discontentedly. A short dinner has expressed the alienation between husband and wife incisively and vividly. With Anna’s help, she took off her clothes. She took off her clothes layer by layer, revealing her naked @ body. The director stripped her of her strength. Her indifference is like the glass stuffed into the Yin @ Tao, hurting both herself and others. She stuffed the glass into the Yin @ passage, smeared the blood on her mouth, and showed a mocking smile to her husband. On the one hand, she mocked that men’s love was actually just a sexual @ impulse, and on the other hand, she tried to put herself in the position of the injured to get sympathy. But even so, we did not see her husband sympathize.

“Everything is a lie”, which is not only her evaluation of love and marriage, but also her evaluation of people. She denied the possibility of communication, so she didn’t believe what Maria told her and was unwilling to accept Maria’s touch. Anne’s death caused waves in Maria’s heart. In the face of death, Maria hoped that the two sisters could reach an exchange by recalling their childhood to resist the fear caused by Anne’s death. Karin accepted the touch in disgust and ran away. She came to the red wall, which suggested that her heart was calling fiercely. But her “strength” stopped her. At dinner, she apologized to Maria, said she shouldn’t be touched, and said she saw through Maria’s hypocrisy. She knocked down the glass again, suggesting that her behavior towards Maria was similar to her behavior towards her husband. Her self-protective indifference once again became a glass fragment that hurt herself and others. But after all, death also had an impact on her heart. Maria left the living room crying. Karin immediately regretted it and asked for forgiveness. The two sisters hugged each other and poured out their hearts. At this time, the music began to cover up the content of their dialogue. We only saw their mouths moving and couldn’t hear what they said. More often, they talk together. They only talk to themselves without an audience. In Bergman on the film, Bergman wrote: “they show that they also want to talk. In fact, they want to have a suitable opportunity to let others know them. How can they do this without talking?” But the only possible communication in the film is the footnote to Camus’s famous saying: Camus said: “the real Speechless is not silence, but speech.”

Karin refused to love her lover and others’ love, while Maria always tried to show that she had love. She seduced family doctor David, carefully maintained her relationship with her husband and concealed the fact of having an affair with the doctor. She seems to have a good relationship with Anna and Anna’s daughter. She gave Anna a sum of money when she left. But all this is hypocritical acting. Her affair with the doctor made her husband try to commit suicide. Her husband put a knife in his chest. He shouted, “help me!” Maria was far away and did not act. The doctor asked her to stand in front of the mirror and look at the sneer, hypocrisy and jealousy written on her face. Her answer was, “so is your face.” After Annie’s resurrection, she didn’t refuse Annie directly like Karin, but ran away hysterically when Annie tried to hug her and kiss her. She wanted to contrast Karin’s indifference to show that she was spiritually superior to Karin. She took the initiative to reconcile with Karin, which is not only the result of fear of death, but also a high-profile performance. Her disguise peeled off at the last minute. Karin said, “don’t you remember touching me?” “I can’t remember all the stupid behavior,” she said She destroyed her relationship with Karin at the last minute because York was waiting for her outside. She had to maintain the image of a lady and couldn’t keep him waiting. Therefore, for Maria, the purpose of expressing love is to hide her lack of love. Courtship to men is just for sex, and courtship to Karin is her own need. Hypocrisy provided a refuge for her lovelessness.

Annie also had no audience. Her audience was diary. After the division of property, no one took Annie’s diary. Only the virgin Anna opened it. In a diary, Anne recalled that when Karin and Maria first came to accompany her, the three people were walking happily in the garden in white lace skirts. The three sat on the swing. Anna pushed the swing. They talked happily. Annie’s pain seemed to have disappeared. The first scene of the film is the empty mirror of the garden. In the morning, some mist wraps around the old trees standing quietly. When Annie woke up, she opened the curtains and we saw the beautiful yard outside the window.

A peaceful and happy life is of course a life full of love, and love is communicated through language and action. In addition to the beautiful garden scenes at the beginning and end, the films take place indoors. Almost all the scenes switch between Anne’s ward and living room. The red walls are warm but dark and depressed. According to image psychology, the room symbolizes the mind. Then, these red, depressed and closed rooms symbolize the depression and closure of the characters’ psychology. Red was originally warm and unrestrained, and their hearts were also warm and unrestrained, full of love, but the alienation between people led to their appearance of cold white and gloomy black. Everyone is shouting for other people’s love, but everyone is unwilling to pay their own love. When others pay their own love, he picks up the shield of defense and the spear of injury. Since communication is impossible, love is impossible.

In the Old Testament genesis, it is said that human beings tried to return to the garden of Eden. They gathered together to build a tower to heaven. God found human attempts, disturbed human language, made people unable to communicate and coordinate projects, and the plan of the tower to heaven failed. The story in the Bible tells us that the so-called heaven is that people can communicate, understand and love each other. With communication, understanding and love, even if we eventually die, loneliness and pain can be alleviated.

Film plot:

Anne, Karin, Maria and servant Anna lived in a luxurious but gloomy manor. The manor had a beautiful garden, but they never seemed to go to the garden. Annie is dying of an incurable disease. She keeps a diary every day and writes down her daily trivia, feelings and memories. She remembered her mother’s neglect of herself in her childhood and her intimacy with her mother. She died under the cruel torture of pain, but she was blocked in the dark road. She returned to the ward from the grave, hoping to get the love of Karin and Maria, but they all abandoned her because of fear. Only servant Anna hugged her like her mother and died for the second time. Karin has a diplomat husband. Their marriage is obviously unhappy. Both of them are dissatisfied with each other, but they maintain superficial harmony. Karin broke a glass. Her husband stared at her severely. She stuffed a piece of glass into the Yin @@@ canal and smeared blood on her mouth. “Everything is a lie,” she said Maria’s husband is a businessman. One night, Anna’s daughter was ill and the doctor came to treat her. Maria seduced the doctor, which led Maria’s husband to commit suicide, but failed. When the doctor came to see Annie, Maria seduced him again, but the doctor refused. When Annie died, Maria wanted to evoke their common childhood memories and hope that they could become friends again. The indifferent Carlin began to refuse and then accepted. The two sisters talked to each other together. The family divided their property together and then went their separate ways. At the time of separation, the relationship between the two sisters returned to bad. Anna read Anne’s diary, which wrote that the three sisters and Anna played harmoniously in the garden and talked happily on the swing.

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