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Ari Aster recommended Persona (1966) in Movies (curated)

 
Persona (1966)
Persona (1966)
1966 | Drama
8.5 (2 Ratings)
Movie Favorite

"I love all of Bergman’s films, but his later period has had the biggest impact on me, starting with Persona. The film marked the advent of a new period for him; I know that he wrote it when he was in the hospital and thought he was going to die. It adopts a dream logic in a really forward-thinking way, and like Altman’s Three Women, is an example of a proto-Lynchian dream movie. I was thinking about that when we were making Hereditary, how it gradually adopts a nightmare logic. Cries and Whispers strikes me as the most painful and beautiful film about death . . . and sisterhood. I screened it for the crew when we were making Hereditary, which is also a movie about suffering. Bergman was always wrestling with the big things—family dynamics, one’s relationship to God—but he did it in such an accessible way. His films are entertainments—they’re fun, and they’re beautiful. I feel like he has a reputation for being a forbidding director, but I find him to be as inviting as a filmmaker like that could possibly be."

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40x40

Ari Aster recommended Cries and Whispers (1972) in Movies (curated)

 
Cries and Whispers (1972)
Cries and Whispers (1972)
1972 | Drama, Romance
(0 Ratings)
Movie Favorite

"I love all of Bergman’s films, but his later period has had the biggest impact on me, starting with Persona. The film marked the advent of a new period for him; I know that he wrote it when he was in the hospital and thought he was going to die. It adopts a dream logic in a really forward-thinking way, and like Altman’s Three Women, is an example of a proto-Lynchian dream movie. I was thinking about that when we were making Hereditary, how it gradually adopts a nightmare logic. Cries and Whispers strikes me as the most painful and beautiful film about death . . . and sisterhood. I screened it for the crew when we were making Hereditary, which is also a movie about suffering. Bergman was always wrestling with the big things—family dynamics, one’s relationship to God—but he did it in such an accessible way. His films are entertainments—they’re fun, and they’re beautiful. I feel like he has a reputation for being a forbidding director, but I find him to be as inviting as a filmmaker like that could possibly be."

Source
  
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