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UID:30006@offbeat.amsterdam
SUMMARY:CiNEMercator - THE HOUR OF THE WOLF (Ingmar Bergman\, 1968)
DTSTAMP:20261104T001848Z
DTSTART:20261104T190000Z
DESCRIPTION:By 1968\, Ingmar Bergman had moved well beyond the metaphysical
	 inquiries of The\nSeventh Seal and Wild Strawberries. Following the radic
	al formal experiments of\nPersona (1966)\, his cinema had entered a darker
	\, more psychologically exposed\nterritory. The question of God's silence\
	, once so central to his work\, had\ngradually given way to the more intim
	ate terrors of identity\, desire and the\nhuman mind turned against itself
	.\n\nHour of the Wolf belongs to this particularly feverish period\, in wh
	ich\nBergman's lifelong preoccupations with artistic creation\, humiliatio
	n and\nemotional dependence began to assume the dimensions of outright hor
	ror. Max von\nSydow plays Johan Borg\, a painter who retreats with his wif
	e Alma\, played by Liv\nUllmann\, to an isolated island. What initially re
	sembles a study of artistic\nsolitude gradually disintegrates into a hallu
	cinatory world of grotesque\naristocrats\, erotic humiliation and psycholo
	gical persecution.\n\nThere is something almost indecently autobiographica
	l about Hour of the Wolf\;\nBergman had long been fascinated by the artist
	 as both visionary and emotional\ntyrant\, but here he approaches the subj
	ect with unusual cruelty. Johan's\nsuffering is inseparable from his vanit
	y\, his need for recognition and his\ninability to escape the humiliations
	 of his own imagination. Art offers no\nredemption\; if anything\, the art
	ist's heightened sensitivity becomes a form of\nimprisonment.\n\nMade betw
	een Persona and Shame\, Hour of the Wolf occupies a singular place in\nBer
	gman's extraordinary late-1960s period. Less formally austere than the for
	mer\nand less politically grounded than the latter\, it is an unruly\, occ
	asionally\nexcessive work\, whose very imperfections seem bound to its sub
	ject. Its horror\nis not simply that the mind can produce monsters\, but t
	hat imagination\, the\nsource of artistic freedom\, may also become an ins
	trument of absolute\ncaptivity...\n\nThis film is chosen by Lasse
URL:https://offbeat.amsterdam/event/cinemercator-the-hour-of-the-wolf-ingma
	r-bergman-1968
GEO:52.3689648;4.8512865
LOCATION:Supermercator - Mercatorplein 3H\, 1057 BX Amsterdam
STATUS:CONFIRMED
CATEGORIES:film
X-ALT-DESC;FMTTYPE=text/html:<p>By 1968, Ingmar Bergman had moved well beyo
	nd the metaphysical inquiries of <em>The Seventh Seal</em> and W<em>ild St
	rawberries</em>. Following the radical formal experiments of <em>Persona</
	em> (1966), his cinema had entered a darker, more psychologically exposed 
	territory. The question of God's silence, once so central to his work, had
	 gradually given way to the more intimate terrors of identity, desire and 
	the human mind turned against itself. </p><p>Hour of the Wolf belongs to t
	his particularly feverish period, in which Bergman's lifelong preoccupatio
	ns with artistic creation, humiliation and emotional dependence began to a
	ssume the dimensions of outright horror. Max von Sydow plays Johan Borg, a
	 painter who retreats with his wife Alma, played by Liv Ullmann, to an iso
	lated island. What initially resembles a study of artistic solitude gradua
	lly disintegrates into a hallucinatory world of grotesque aristocrats, ero
	tic humiliation and psychological persecution. </p><p>There is something a
	lmost indecently autobiographical about Hour of the Wolf; Bergman had long
	 been fascinated by the artist as both visionary and emotional tyrant, but
	 here he approaches the subject with unusual cruelty. Johan's suffering is
	 inseparable from his vanity, his need for recognition and his inability t
	o escape the humiliations of his own imagination. Art offers no redemption
	; if anything, the artist's heightened sensitivity becomes a form of impri
	sonment. </p><p>Made between <em>Persona</em> and <em>Shame</em>, <em>Hour
	 of the Wolf</em> occupies a singular place in Bergman's extraordinary lat
	e-1960s period. Less formally austere than the former and less politically
	 grounded than the latter, it is an unruly, occasionally excessive work, w
	hose very imperfections seem bound to its subject. Its horror is not simpl
	y that the mind can produce monsters, but that imagination, the source of 
	artistic freedom, may also become an instrument of absolute captivity...</
	p><p><em>This film is chosen by Lasse</em></p>
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DESCRIPTION:CiNEMercator - THE HOUR OF THE WOLF (Ingmar Bergman, 1968)
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