Emotionally exhausting, mainly due to Harriet Andersson's terrifying performance. This is most likely the most depressing film I've ever seen, so approach with caution.

Just excellent. I can't help thinking that 1961 was a very good film year.

Not great alone, but fantastic in perspective of the trilogy.

Slow, with mesmerizing dialogues, especially the last one, which is absolutely deep.

Bergman's mastery of creating a dark, sombre, and even lonely landscape within the confines of such complex themes such as love, hope and religion is second to none. With great subtlety and softly acted characters Bergman explores these themes. In the process he asks many questions of us, whether we notice or not, but the answers are never concrete nor defined. It is ironic that the dark, and often brooding build up to the protagonists collapse that we go away with a slight feeling of hope.

Bergman at his darkest. Meditating upon his most salient subject of God's silence, he concludes that the only ones who hear an echo in the dark are the mentally ill. Brilliant.

Introduction to the spider-God.

Almost an untypical Bergman since religion/god are described as a source of hope. The movie starts like a pretty relaxed family story somewhere at the baltic sea but it gets it typical Bergman build-up and soon becomes what anyone expects: a great movie. 06/01/10

http://www.youtube.com/watch?v=CAiFT99EkKU

Only Bergman could craft a film as delicate and fragile, and still manage to excel on every level. This sublime masterpiece acts as a play: there are few, intricate characters, and the story happens in a 24-hour period; yet, the film stands out with it's breathtaking script, the photography and the mesmerizing performances. Bergman masterfully crafts a spiderweb between the characters they cannot escape from, only to seed hope in the last moments of the film.

Great, thought-provoking drama from Bergman. The acting is excellent and the cinematography beautiful. The complex themes and subtle ambiguity provokes plenty of thought and discussion afterwords, even if it doesn't entirely agree with Winter Light. Makes me look forward to watching more of Bergman's films, I forgot how good they were.

Bergman gitsin tiyatro yonetsin.

Whilst not perfect or consistant, it's remarkable in most senses and the themes and story stay with you long after the film finishes. Not one for modern audiences as it requires you to think.

A mentally ill woman plagued with the gripping clutches of this cruel mistress. A younger brother, naive and hit with a ton of bricks. A logical lover with no answers to give. A guilty father being crushed under the weight of himself. Feelings ranging from sexual to suicide. Immorality to god itself. This is probably the best Bergman I've seen yet. I am just absolutely struck by this film. Will take me a while to digest.

Some great shots, and superb acting. Very well made movie, just didn't hit me as hard as other Bergman films I've seen (though, admittedly, it is an incredibly high bar).

A work fueled by the stunning potency of its cryptic nature. While the angst of the exploitative father is certainly a significant emotional corner of the film, the exploits of the deranged (?) Karin, from the haunting style of her physical wandering to her explanations of her visions, are inspired to say the least. The first bizarre scene on board the wrecked ship is perfectly composed in every way, and from then on out every moment carries an unforgettable life-shaking sense of despair. Wow.

Sombre sets, a slow buildup of uncomfortable revalations from flawed characters and a haunting finale... and yet it didn't connect with me the way I hoped it would. The acting is superb and the cinematography is wonderfully atmospheric, but it might take a rewatch to truly start to appreciate the movie and its themes more.