Told in flashback and inspired in part by French poetic realism, A Ship to India marks a major evolution in Ingmar Bergman’s early filmmaking, demonstrating his gifts as a conjurer of beguiling images and a dramatist of lacerating emotions. Criterion's package of Ingmar Bergman 39-films includes some that have been released by them previously on Blu-ray (Persona, Wild Strawberries, The Virgin Spring etc. When the couple are invited to a nearby castle for dinner, things start to go wrong with a vengeance, as a coven of sinister aristocrats hastens the artist’s psychological deterioration. As Berit reveals more about her troubled past, and the couple confront many harsh realities in the present, a meaningful bond begins to form between them. This cathartic pas de deux, evocatively shot in burnished harvest colors, ranks among the director’s major dramatic works. With this spare chamber piece, set in an empty theater, Ingmar Bergman returned to his perennial theme of the permeability of life and art. Directed by Ingmar Bergman, With his final film, Ingmar Bergman returned to two of his most richly drawn characters: Johan (Erland Josephson) and Marianne (Liv Ullman), the couple from Scenes from a Marriage. In honor of Ingmar Bergman’s one hundredth birthday, the Criterion Collection is proud to present the most comprehensive collection of his films ever released on home video. Accompanied by a 248-page book with essays on each program, as well as by more than thirty hours of supplemental features, Ingmar Bergman’s Cinema traces themes and images across Bergman’s career, blazing trails through the master’s unequaled body of work for longtime fans and newcomers alike. It incorporates documentary-style interviews with the actors, blurring the boundaries between fiction and nonfiction, lies and truth, dreams and reality, identity and anonymity. Thankfully, Ernst Ingmar Bergman was born, on July 14, 1918, in Uppsala, Sweden, to Erik Bergman, a Lutheran minister, and Karin Bergman (née Åkerblom), a nurse. Rakel (Anita Björk) tells of receiving a visit from a former lover (Jarl Kulle); Marta (Maj-Britt Nilsson) of agreeing to marry a painter (Birger Malmsten) only after having his child; and Karin (Eva Dahlbeck) of being stuck with her husband (Gunnar Björnstrand) in an elevator, where they talk intimately for the first time in years. The beautifully photographed Winter Light is an unsettling look at the human craving for personal validation in a world seemingly abandoned by God. With The Magician, an engaging, brilliantly conceived tale of chicanery that doubles as a symbolic portrait of the artist as a deceiver, Ingmar Bergman proved himself to be one of cinema’s premier illusionists. Susanne (Eva Dahlbeck), head of a modeling agency, takes her protégée Doris (Harriet Andersson) to a fashion show in Göteborg, where Susanne makes contact with a former lover, and Doris finds herself pursued by a married dignitary (Gunnar Björnstrand). Jumping back and forth in time, this compelling film moves seamlessly between seduction and repulsion, and the German cast is superb. “God, why hast thou forsaken me?” With Winter Light, Ingmar Bergman explores the search for redemption in a meaningless existence. All These Women, in which Bergman pokes fun at the pretensions of drawing-room art, possesses a distinctly playful atmosphere and carefree cadences. Focusing on four characters—a trio of actors charged with obscenity (Ingrid Thulin, Gunnar Björnstrand, Anders Ek), and the judge assigned to try them (Erik Hell)—The Rite alternates between criminal interrogations and interpersonal confrontations shown in flashback, leading to a final “performance” that makes for one of the most bizarre moments in Bergman’s filmography. Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese Martin Scorsese Maj-Britt Nilsson beguiles as an accomplished ballet dancer haunted by her tragic youthful affair with a shy, handsome student (Birger Malmsten). In the aftermath of the crime, Peter and Katarina’s psychiatrist and others attempt to explain its roots. Starring Max von Sydow and photographed by the brilliant Sven Nykvist, the film is both beautiful and cruel in its depiction of a world teetering between paganism and Christianity. Winner of the Academy Award for best foreign-language film, Through a Glass Darkly, the first work in Ingmar Bergman’s trilogy on faith and the loss of it, presents an unflinching vision of a family’s near disintegration and a tortured psyche further taunted by the intangibility of God’s presence. With the box set Ingmar Bergman’s Cinema, releasing this November, the Criterion Collection is celebrating the director’s film work with a selection of thirty-nine of his features, including his directorial debut, Crisis (1946), and his farewell, Saraband (2003), completed three and a half years before his death, on July 30, 2007, at the age of eighty-nine. Originally conceived as a five-hour, six-part television miniseries, the film is also presented in its three-hour theatrical cut. 10 new The strangest and most disturbing of the films Ingmar Bergman shot on the island of Fårö, Hour of the Wolf stars Max von Sydow as a haunted painter living in voluntary exile with his wife (Liv Ullmann). Lingering after a rehearsal for August Strindberg’s A Dream Play (a touchstone for the filmmaker throughout his career), eminent director Henrik (Erland Josephson) enters into a frank and flirtatious conversation with his up-and-coming star, Anna (Lena Olin), leading him to recall his affair with Anna’s late mother, the self-destructive actress Rakel (Ingrid Thulin). The hunchbacked sailor Johannes (Birger Malmsten) longs to escape his home on a salvage ship helmed by his cruel, drunken father (Holger Löwenadler)—and so does the captain himself, who is slowly going blind and planning to leave his wife and son for a music-hall performer named Sally (Gertrud Fridh). Bergman once remarked, “I have really thought a lot about where the pressing need to express myself all the time comes from, what it is that actually drives me. 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