In 1982 after the completion of Bergman’s Magnus Opus Fanny and Alexander, the great Swedish film maker retired from the world of cinema never to return to the medium as a director. The reality is that “retirement” did not mean the same thing to Bergman that it does to you or I, as he went on to direct a number of TV Movies and short films beginning less than a year after the release of Fanny and Alexander.

An examination of Billie August's 1992 feature film The Best Intentions, written by Ingmar Bergman about the first ten years of his parent's relationship. The film prompts interesting questions of causality and proves that even Bergman wasn't the only director who could bring his scripts to life on screen.

Written and presented by Mike Dawson.

It is fair to state that Bergman’s career defining films came in the mid-1950’s with Smiles of a Summer Night in 1955, and both The Seventh Seal and Wild Strawberry’s in 1957. Before this point there were a few other notable films of his in the early 50’s Sawdust and Tinsel in 1953 for example, but before this point his work is far less known.

Three Strange Loves (Törst) is one of the best early films from Ingmar Bergman. Released in 1949 is provides a solid touchstone for the themes that would later be so important to the Swedish masters works.

Written and presented by Mike Dawson. Quotations read by Will Tristram.

The third film in the trilogy is arguably both the weakest film (although counter arguments could be made that it’s actually the strongest) and also the most loosely tied to the overall thematic exploration. It is the only one of the films which does not refers to the stone faced spider God, and in fact during its entire run makes but one direct reference to God within its dialogue.

Part three of The Faith Trilogy, Bergman's theologically centered films which question the existence of a silent God in a post World War II Europe.

The second part of the trilogy, the literal translation of the title which in Swedish means Holly Communion (perhaps Winter Light is easer to market internationally and the title is appropriate in its own way). The plot line for Winter Light is simple, the concepts and the ideas at play within the film are contrastingly huge, but the plot and its execution remain remarkably singular. Winter Light takes most of its strength from this rarest of rare virtues.

Part two of The Faith Trilogy, Bergman's theologically centered films which question the existence of a silent God in a post World War II Europe.

At some point during Bergman’s career he referred to three of his films as a trilogy, The Faith Trilogy also known as The God and Man trilogy or the God’s silence Trilogy. Later in his career he denied having ever made such a cataloguing of his works, stating that the films were not a trilogy at all. The uncertainly about the trilogy’s name is indicative of the doubt around their connection.

Part one of The Faith Trilogy, Bergman's theologically centered films which question the existence of a silent God in a post World War II Europe.