“HOUR OF THE WOLF” 1968 | 1h28’ [SE] | BERGMAN’S “DEMONS” Cinema Screenings
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## Ciclo OS “DEMÓNIOS” DE BERGMAN
[BERGMAN’S “DEMONS” Cinema Screenings]
(Curadoria de Fábio Sequeira)
“HOUR OF THE WOLF” 1968 | M/12 | 1h28’ [SE] (Hora do Lobo - PT)
De Ingmar Bergman
Sábado Dia 24/10 às 19h30 [Saturday 10/24 at 7:30pm]
Durante umas férias numa remota ilha alemã, um artista viaja com a sua jovem esposa grávida. À medida que se confronta com desejos há muito reprimidos, mergulha numa profunda crise emocional.
While vacationing on a remote German island with his younger pregnant wife, an artist has an emotional breakdown while confronting his repressed desires.
Spoken in Swedish | Subtitled in English
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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!