“THE VIRGIN SPRING” 1960 | 1h29’ [SE] | BERGMAN’S “DEMONS” Cinema Screenings
Details
#### Conversas com Cinema© PROSA
## Ciclo OS “DEMÓNIOS” DE BERGMAN
[BERGMAN’S “DEMONS” Cinema Screenings]
(Curadoria de Fábio Sequeira)
“THE VIRGIN SPRING” 1960 | M/12 | 1h29’ [SE] (A Fonte da Virgem - PT)
De Ingmar Bergman
Sexta Dia 23/10 às 19h30 [Friday 10/23 at 7:30pm]
Na Suécia do século XIV, uma adolescente inocente e protegida e uma criada grávida, consumida pelo ciúme, partem da quinta da família para levar velas à igreja. Porém, apenas uma regressará, depois dos acontecimentos trágicos que marcarão a viagem.
In 14th century Sweden, an innocent yet pampered teenage girl and a jealous pregnant servant set out from their farm to deliver candles to church - but only one returns because of events that transpire along the way.
Spoken in Swedish | Subtitled in English
Mais info e reservas:
More info and reservations:
https://prosacultural.org/cinema/bergmansdemons
There is in Ingmar Bergman a persistent unease before what may lie hidden behind reality. In The Virgin Spring (1960) and Hour of the Wolf (1968), this unease takes on different yet equally disturbing forms: in one, violence erupts into a world seemingly ordered by faith; in the other, isolation and insomnia cause the boundaries between reality, dream and nightmare to dissolve.
The Virgin Spring (1960) plunges us into a medieval Sweden shaped by religion, where purity, faith and innocence are confronted with brutal violence. From a traumatic event, Bergman constructs a reflection on guilt, revenge and the possibility of redemption. Although deeply rooted in drama and spiritual questioning, the film contains a physical and moral violence that brings it close to the territory of horror: the sacred and the profane, the beauty of the landscape and human brutality coexist in deeply unsettling ways.
In Hour of the Wolf (1968), this threat becomes more intimate and more abstract. Isolated on an island, Johan begins to be haunted by figures that seem to emerge from his own fears and obsessions. Night becomes a space of disorientation, and what might initially be understood as hallucination gradually acquires an almost physical presence. Here, Bergman moves closer to psychological horror and the fantastic, exploring the fear of losing control over one’s own perception of reality.
The two films thus share a common concern with the “demons” that emerge when our certainties begin to collapse. But while in The Virgin Spring horror arises primarily from human violence and the conflict between faith, guilt and revenge, in Hour of the Wolf it emerges from within the mind itself. One looks towards the brutality of the external world; the other transforms the inner world into a potentially monstrous place.
Between miracle and nightmare, between faith and madness, Bergman reveals a dimension of terror that is uniquely his own: fear is not necessarily hidden in the darkness — it may reside in what we believe, in what we desire and, above all, in what we are unable to confront within ourselves.
(Curatorship by Fábio Sequeira)
All Cinema PROSA films will be shown on an illuminated pixel (65’’ QLED screen) in a room with a maximum capacity of 24 spectators.
Come and have a glass of wine or a non-alcoholic drink in the cinema room with us!