Winter Light: Existential Crisis

Ingmar Bergman's WINTER LIGHT (1962)

http://www.criterion.com/films/569-winter-light

http://en.wikipedia.org/wiki/Winter_Light

http://www.reverseshot.com/legacy/spring04/winter.html

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20071201/REVIEWS08/...

http://artsandfaith.com/t100/2011/t100/winterlight.html

"Light was to play a vital role in WINTER LIGHT, which was set in a church on a Sunday over three hours. Although the church was to be built in a studio, Ingmar and I went to a real church during our preparation and took photos every five minutes to study how the winter light changed over a similar time period. The bad weather outside the church during the story meant that there should never be any shadows inside, and we promised ourselves that we would re-shoot every time there was a shadow in the rushes (and we did). Then, towards the end of the film, there is a vital scene between the teacher (played by Ingrid Thulin) and her priest (Gunnar Björnstrand), where we planned for the sun to come out for about 30 seconds. That is light which was thought about and meant something in the story. But otherwise, we did not stray from the indirect, shadowless winter light. Since then, I have tried to avoid using direct light, working mainly with bounced light in my quest to stop a film looking lit. I was helped in this by developments in the sensitivity of raw stock, which enabled us to follow the example of the French new wave and shoot increasingly on location."

- Cinematographer Sven Nykvist

SOURCE: "Cinematography" -- Ettedgui, Peter -- Published August 15th 1999 by Focal Press

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Film & Animation

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