Yet another great Bergman movie, thematising among other things the question of what it is that really bothers us.

"I've always said there are three sexes: men, women, and actors. And actors combine the worst qualities of the other two." So said Orson Welles, and I think that's what Bergman explores in this film, in a way that is reminiscent of, but quite different from, Rivette's cinematic depiction of the theatre/reality nexus. At least that's my reading of the film, which I'd suggest is much more interesting than just saying that the film is autobiographical.

Ignore what I said in my review of Right Now, Wrong Then. I don't dislike films about filmmakers (stage directors). I dislike Hong Sang-soo's films. After the Rehearsal is stunning.

This movie is so theatrical, the biggest question it asks is; why is this a movie and not s play? The older Josephson and young Olin have a good chemistry together and their discussions are interesting to watch, partly also due to the clear autobiographical influence on it. But the middle sequence with Thulin as the older actress is an unnecessary interruption.

Fascinating as Bergmania. Having a director face his role as a serial user, if not outright abuser, of his actresses, is very hard not to read autobiographically, especially with all the details thrown in. Having him face that on the final lap of his career (even if he doesn't go TOO hard on himself) is intriguing. Unfortunately, it also gets VERY theatrical, and occasionally becomes outright soap opera.

Mês especial do centenário de Ingmar Bergman filme #25 Hoje à tarde li o capítulo de Lanterna Mágica em que o Bergman conta que em 1986 quando estava montando essa mesma peça de Stringberg, Lena Olin anunciou que também estava grávida sob as mesmas circunstâncias que Bergman escrevera dois anos antes num evidente respaldar de que a vida também imita a arte, para além da arte imita a vida que este filme altamente confessional representa. Coleção Versátil Ingmar Bergman Volume 6

Henrik has a history of using his influence and intellect to take advantage of his actresses. But as an old man looking back, he realizes it's not just the lives of his actresses that he's sacrificed for his art, but his own life as well, and as he and the ingenue talk, he confronts his guilt, his cycle of manipulation, the bad faith of those around him, and the practice of creating art at the expense of others. If you know Bergman's history, this will strike you as a confessional of sorts.

A thoughtful discussion of the meaning and reason for art.