Ingmar Bergman is still the doyen of cinema. He is known for masterpieces of controlled human emotion, exploring every facet of the personality in relentless detail. He wrote: "I had the possibility of corresponding with the world around me in a language that is literally spoken from soul to soul."

These two screenplays, liberally illustrated with production stills featuring actors, including his favourite actress, ex wife, Liv Ullman, are classics of the screen. They will be sought after by film students, and lovers of his films, New interest in Bergman is being generated by the recent release of Faithless, Liv Ullman's 2001 masterpiece, with a screenplay by Bergman.

Born in Sweden in 1918, Ingmar Bergman is still contributing to his canon of work.

"The finest filmmaker of my lifetime . . . Bergman was a born spinner of tales." --Woody Allen In this new paperback edition, Ingmar Bergman presents an intimate view of his own unique body of work in film. His career spanned forty years and produced more than fifty films, many of which are considered classics: The Seventh Seal, The Virgin Spring, Persona, Smiles of a Summer Night, Wild Strawberries, and Fanny and Alexander, to name but a few. When he began this book, Bergman had not seen most of his movies since he made them. Resorting to scripts and working notebooks, and especially to memory, he comments brilliantly and always cogently on his failures as well as his successes; on the themes that bind his work together; on his concerns, anxieties, and moments of happiness; on the relationship between his life and art. Readers are allowed a glimpse of the inner workings behind his well-known masterpieces: his anxiety and pain as he edited a 312 minute Fanny and Alexander for a three-hour feature film release; his attempt to reconcile the towering figures of his parents with Wild Strawberries. He relates his own starkly honest view of his great triumphs and quiet failures. More clearly than ever before, Images allows us to listen to his "voice of genius" (Woody Allen, New York Times Book Review).

Classic, much-parodied allegorical drama from director Ingmar Bergman.

A knight returns from the crusades to his plague-ridden homeland and engages Death in a game of chess.

This leads the knight to ponder the question of whether or not God exists.

'There is no shame in deriving pleasure from this little world.' Siblings Fanny and Alexander are growing up amidst the gilded romance and glamour of 1900s Sweden. But their world is turned upside down when their widowed mother remarries the iron-willed local bishop. As creative freedom and rigid orthodoxy clash, a war ensues between imagination and austerity in this magical study of childhood, family and love. Legendary film-maker Ingmar Bergman's 1982 masterpiece Fanny & Alexander was adapted for the stage by Stephen Beresford. It premiered at The Old Vic, London, in 2018, in a production starring Penelope Wilton and directed by Old Vic Associate Director Max Webster. Stephen Beresford is the BAFTA award-winning screenwriter of Pride. His other plays include The Last of the Haussmans, which premiered at the National Theatre.

Ingmar Bergman's tale of young love gone sour stars Harriet Andersson as a girl from Stockholm who falls in love with a young man on holiday. When she becomes pregnant they are forced into a marriage, which begins to fall apart soon after they take up residence in a cramped little flat.

An intimate exploration of a disintegrating marriage, this powerful drama features faultless performances from two of Bergman's greatest acting collaborators -Liv Ullmann and Erland Josephson.

When Marianne discovers that her husband, Johan, is involved with a younger woman she re-evaluates her life and the importance of her marriage. Time passes, their relationship changes and the couple divorce. Then -several years later - they have an illicit affair during which they talk with frankness and understanding about their feelings for one another.

Capturing the trauma of a beleaguered marriage in painful close-up, this exhaustive study of doubt, despair and confusion is brought to life by superb photography.

In Swedish with English subtitles.

Scripted by Ingmar Bergman and directed by Gustaf Molander, this drama is set in neutral Sweden during the Second World War. Bo (Birger Malmsten) is a sailor recently returned from the Navy who starts courting Eva (Eva Stiberg), despite his reawakened feelings of guilt about a childhood accident in which he was responsible for a young girl's death. Although they become happily married, and Eva becomes pregnant, Bo is still plagued by nightmares and guilt, including a dream that he is about to brutally murder his best friend. When Eva is about to give birth, Bo's fear that he will be responsible for another death sends him back to the high seas.

Set in beautiful 14th century Sweden, the film tells a sombre, powerful fable of peasant parents whose daughter, a young virgin, is brutally raped and murdered by swineherds after her half sister has invoked a pagan curse.

By a bizarre twist of fate, the murderers ask for food and shelter from the dead girl's parents, who, upon discovering the truth about their erstwhile lodgers, exact a chilling revenge.

This cruel and sensational medieval allegory, made all the more powerful for the luminous, hauling black and white photography and Bergman's meticulous direction, was later to be re-made by horror director Wes Craven as Last House on the Left.

In black & white.

The second novel in world renowned film-maker, Ingmar Bergman's trilogy of novels plotting the fractious marriage of his parents Over the course of one summer, eight-year-old Pu Bergman makes the terrible realisation that his father and mother are no longer in love. Surrounded by the quiet idyll of the Swedish countryside, with its ponds, its rivers and woods, the daily chaos of the family's ramshackle summer home threatens to bring to a close the bright, brilliant haze of Pu's childhood world. Based upon film-maker Ingmar Bergman's own family life, Sunday's Children is the second part in Bergman's loose trilogy of books that started with The Best Intentions, and closes with Private Confessions.

When a film is not a document, it is a dream...At the editing table, when I run the strip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood." Bergman, who has conveyed this heady sense of wonder and vision to moviegoers for decades, traces his lifelong love affair with film in his breathtakingly visual autobiography, "The Magic Lantern". More grand mosaic than linear account, Bergman's vignettes trace his life from a rural Swedish childhood through his work in theater to Hollywood's golden age, and a tumultuous romantic history that includes five wives and more than a few mistresses. Throughout, Bergman recounts his life in a series of deeply personal flashbacks that document some of the most important moments in twentieth-century filmmaking as well as the private obsessions of the man behind them. Ambitious in scope yet sensitively wrought, "The Magic Lantern" is a window to the mind of one of our era's great geniuses.

Marking Ingmar Bergman's debut as screenwriter and directed by Alf Sjöberg, this expressionistic crime of passion revolves around a young student, Jan-Erik (Alf Kjellin), his sadistic Latin teacher, nicknamed 'Caligula' (Stig Järrel), and a newsagent assistant-cum-prostitute, Bertha (Mai Zetterling). When Jan-Erik assists the drunken Bertha, he becomes her lover. Bertha is, however, terrified of another man, whom it becomes clear is terrorising her. When Jan-Erik finds Bertha dead, he accuses Caligula of being responsible. The themes of creaticity, mentors and oppressive authority, which would become Bergman's trademarks, are staked out in this semi-autobiographical work.

Classic Swedish drama from acclaimed director Ingmar Bergman, one of his earliest experimental works. A mathematics teacher approaches one of his former pupils who has become a film director, and asks him to consider an idea for a film about a world where the Devil has declared Earth to be Hell. While the director considers this idea, he is interviewed by a journalist and finds himself recounting a terrible event from his past, that may have a bearing on his next project.

Through A Glass Darkly
A schizophrenic girl has visions, believing that Gods presence is ever closer. However, as her descent into madness deepens, she becomes the focal point for the emotions of three men. In challenging the traditional notions of God, Bergman's Academy Award winning film is a devastating, harrowing portrayal of the uneasiness and creeping paranoia of contemporary life.

Winter Light
A susceptible and disillusioned fisherman is urged by his wife to seek solace from his local priest. However, the priest is struggling to regain his own belief. Bergman's desire to define man's relationship to God is beautifully played out in the film with stunning character performances and cinematography from the director's favoured collaborator Sven Nykvist.

The Silence
The intimacy of two sisters threatens to destroy them both mentally and physically. Travelling to a foreign city on the brink of war and whose language they do not understand, the setting becomes a metaphor for the strained relationship between the women. This is a shattering vision of emotional isolation and despair in a claustrophobic spiritual void.

All three feature films in black & white and in Swedish with English subtitles.

Classic Ingmar Bergman drama. The wives of four brothers relate to each other the stories of their marriages as they sit in a summer cottage and wait for their husbands to return, stories that include infidelity, light-hearted romance, and the difficulties of raising children. While they talk, one of the women's young sister, Maj (Gerd Andersson), is planning to elope without her sister's knowledge.

Ingmar Bergman's film about love found and lost within a summer. One summer, Mari (Maj-Britt Nilsson), a young ballerina, seeks refuge from an unhappy homelife by staying with her uncle and aunt on an island near Stockholm. Despite her uncle's possessiveness, Mari falls for a young man Henrik and before she has to return to the city, they express their love for one another. But Henrik is killed in a swimming accident, and Mari has to return to the city and cope with a life alone. Years later, when she discovers her diary of her stay on the island, Mari returns to the island to confront her uncle. With the past finally dealt with she returns to her life of dancing and her new lover with a renewed outlook.

One of Ingmar Bergman's early works. Marta (Maj-Britt Nilsson) and Stig (Stig Olin) meet and marry while playing in an orchestra. However, their relationship deteriorates after Stig has an affair. The central themes of this film - the incompatability of spouses and the responsibility of artists - are recurrent fascinations for Bergman.

The third part of Ingmar Bergman's trilogy of faith (the others are 'Winter Light' in 1961 and 'Through the Glass Lightly' in 1963). The relationship of two sisters Ester (Ingrid Thulin) and Anna (Gunnel Lindblom) reaches breaking point when they arrive in a strange country and stay in a large hotel, empty but for a troupe of dwarf entertainers. Ester is suffering from a terminal disease and has become overly protective of Anna and, to escape, Anna goes out to find a man and ends up bringing back a waiter to her room. This then proceeds to both arouse and anger Ester culminating in a bitter and violent argument between the sisters.

Ingmar Bergman's drama-about-a-drama, originally made for Swedish television in 1969, asks questions about obscenity, censorship and the role of the artist. Three actors from a theatre troupe that has had its latest production, 'The Rite', banned after being charged with obscenity are each interrogated privately by a provincial magistrate. The trio are incestuously involved: Thea (Ingrid Thulin) is married to Hans (Gunnar Björnstrand) but is having an affair with Sebastian (Anders Ek), who killed her former husband in a crime of passion. The judge, playing on the insecurities and vanity of the three actors, brings to light their deepest, darkest secrets. Bergman deliberately does not reveal the obscene nature of the troupe's production, leaving the viewer to imagine for themselves what they consider obscenity to be.

Ascerbic Ingmar Bergman comedy exposing the egotism and pretentiousness rife in the world of artists and critics. Cornelius (Jarl Kulle) is a self-important and highly opinionated critic who has been bribed by the egocentirc womaniser Felix, a famous cellist, to write his biography. But when Cornelius arrives at Felix's lavish home, he finds a string of women in the house, all determined to protect their maestro's privacy. The situation goes from frustrating to humiliating for Cornelius as he is dressed up in women's clothing, photographed in compromising positions, and bombarded with fireworks. He never does get to meet the elusive Felix, but finds out a lot about him from the women in the house, and, armed with this information, decides to blackmail Felix into performing a composition that he, Cornelius, has written.

Ingmar Bergman's stark look at faith is the second part of a trilogy with 'Through a Glass Darkly' (1961) and 'The Silence' (1963). A pastor (Gunnar Bjornstrand) who seems to have lost his faith after his wife's death finds himself unable to give spiritual reassurance to a local fisherman (Max von Sydow), whose wife Marta (Ingrid Thulin) has long been in love with the pastor. As the pastor deals with his own demons and the (to him repulsive) advances of Marta he finds that God may still have some hold over him.

Ingmar Bergman's romantic comedy of manners focuses on a group of couples, ex-couples and would-be couples during a midsummer weekend in 1900. During the course of the weekend a game of love ensues between the players as three couples meet, separate and exchange partners.

Long acclaimed as a cinematic masterpiece, The Seventh Seal is a stunning allegory of a man's search for the meaning of life.

As the Black Death continues to wipe out the population of Europe, knight Antonius Block returns from the Crusades, disillusioned and worn. When suddenly Death appears before him, he asks for the chance to live, proposing a game of chess to decide his fate.

The knight takes his squire, a troupe of traveling players and a deaf and dumb girl under his protection as the game is played out. One by one Death exacts his toll, and it is up to Block to stall his opponent for as long as possible if he is to help save the lives of those he is trying to protect.

All the while, the villages and towns about them fall further into ruin and religion takes a stranglehold on those desperate for a means of survival.

In Swedish with English subtitles.