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Shot in 1975, originally for Swedish television, Ingmar Bergman's film ANSIKTE MOT ANSIKTE (Face to Face) explores the idea of a psychiatrist herself struggling with mental illness. As the film opens, Dr. Jenny Isaksson (Liv Ullmann) is standing in an empty house, her family having removed everything in preparation for a move into a new house later that year. In the meantime, her husband is working in America for a few months and her daughter is at a summer camp. Waiting for the family to be reunited and move into the new house, Jenny temporarily settles in with her grandmother (Aino Taube) and grandfather (Gunnar Björnstrand), the latter of whom is poignantly suffering from dementia. Jenny is initially happy to dedicate herself to a new position at the clinic, but soon she finds the wall between reality and delusion breaking down, and the film chronicles her deterioration. I personally don't consider ANSIKTE MOT ANSIKTE "major Bergman". Firstly, the cut theatrical version feels sputtering and unfocused and consequently its 2-hour length can seem interminable. Sadly, the original television version has never been released, so neither can audiences have that. Secondly, Bergman had made a few films before that dealt with madness or the dark regions of the psyche, and especially in the second half of ANSIKTE MOT ANSIKTE the director resorts to what had already become some cliches for him. Still, even second-rate Bergman is worth at least one viewing. In spite of often retreading past ground in showing us what's in Jenny's head, Bergman does at times give us a fresh angle on the theme of mental illness, attempting to convey how much loneliness and shame it involves. Jenny is wracked with emotion but unable to communicate it to those around her, and she feels utterly alone as even those close to her fail to understand her plight. The acting is also superb, with Liv Ullman able to portray a whole spectrum of mental states. Erland Josephson appears in a supporting role, one of the threatening, Mephistophelian characters he did so well. There is, incidentally, one aspect of this film that makes it a real curiosity in Bergman's body of work. Over the preceding couple of decades, Bergman had shot films that were either period films (medieval or early 20th century) or were fairly contained dramas about small, mainly upper-class circles, with little representation of broader society and changing mores. Here, however, the outside world suddenly and rather crudely intrudes on a Bergman film: early on, Jenny attends a party thrown by a campy, somewhat Cathy Berberian-like elderly woman (Sif Ruud) who dotes on a pair of gay men that she has quasi-adopted. The two men are homosexual stereotypes, sashaying, tight jeans and all, and the party involves some sexually libertine folk dancing to Abba-like pop music of the time. One gets the impression that Bergman was feeling challenged by younger filmmakers like Vilgot Sjöman, but this sudden reflection of 1970s Sweden quickly disappears and the film returns to more traditional Bergman territory.
Mabel Longhetti, desperate and lonely, is married to a Los Angeles municipal construction worker, Nick. Increasingly unstable, especially in the company of others, she craves happiness, but her extremely volatile behavior convinces Nick that she poses a danger to their family and decides to commit her to an institution for six months. Alone with a trio of kids to raise on his own, he awaits her return, which holds more than a few surprises.
16-year-old Mari, raised without a mother by a drunkard father, is put in an orphanage which she immediately, though unsuccessfully, tries to flee from. The sensitive Mari finds it hard to adapt to the coarse manners and brutal games amongst the children. Only gradually does she develop a sense for the similarly difficult fates of her fellow sufferers, who have long forgotten how to cry. She even falls in love for the first time, not with her self-appointed “protector” Tauri, but with the rough-mannered Robi.
A notable opera singer tries to commit suicide because of a emotional breakdown. While hospitalized in a psychiatric clinic, her daughter cautiously approaches the man she considers to be the blame for the state of her mother in order to gain her revenge.
Art editor Madeleine Damian carries on numerous loveless affairs. After a failed relationship with advertiser Felix Courtland, the increasingly depressed Madeleine attempts suicide. When Jack Garet, her secretary and former lover, tries to blackmail her, Madeleine resigns and seeks a reclusive life. Neighbor David Cousins befriends Madeleine, but soon Courtland and Garet discover her whereabouts and disrupt her new life.
After her mother comes back from an extended hospital stay, a young girl begins to envision an ominous monster lurking in her home.
A woman is being stalked by a stranger. His stalking turns to blackmail when he sends her copies of photos of her in an embarrassing position. Now he controls her and she has to do anything he says. Anything.
An overworked female executive is haunted by strange dreams. She is compelled to travel to a remote fishing village where she is inexplicably kidnapped and sold to a peasant farmer on a remote island.
While returning to Leningrad from a visit to his brother, Professor Artyom's car breaks down and he finds assistance at an isolated farmhouse occupied by Alexey, his wife, a Vietnamese laborer, and a stranger who wanders around the farm. When his car is repaired, Artyom leaves, drunk on moonshine, and students Valera and Angelika arrive. After Valera gets drunk, the stranger abducts Angelika.
Thomas has decided to die, and spends his last day driving around to say good-bye to everybody, his son, wife, mistress and all others. Nobody understands that this good-bye is definite, and still he says things they will never forget.
This psychedelic tour of life after death is seen entirely from the point of view of Oscar, a young American drug dealer and addict living in Tokyo with his prostitute sister, Linda. When Oscar is killed by police during a bust gone bad, his spirit journeys from the past - where he sees his parents before their deaths - to the present - where he witnesses his own autopsy - and then to the future, where he looks out for his sister from beyond the grave.
'#babynymph' is the definitive portrait of this generation, who believes that happiness only exists if it is shared on the web.