The Passion of Anna

(In Memory of Bibi Andersson (1935-2019))

Written and directed by Ingmar Bergman, En passion (The Passion of Anna) is the story of a reclusive man who falls for mysterious yet grief-stricken woman after breaking up with a lover and dealing with the dissolution of his marriage. The third film in a thematic trilogy that of violence, isolation, and self-hatred in ordinary lives, the film is an exploration of an affair that would eventually turn into chaos. Starring Liv Ullmann, Max von Sydow, Bibi Andersson, Erland Josephson, Erik Hell, and Sigge Furst. En passion is a riveting yet haunting film from Ingmar Bergman.

Set in a remote island in Sweden, the film follows a man who is living alone following a divorce and dissolution of other relationships where his meeting with this grief-stricken woman would mark some unexpected change in his life as well as deal with some demons. It’s a film that play into a man who is living alone despite having a few friends as he meets this woman who is coping with the loss of her husband and son in a car accident as he gets to know her while being aware that something strange is happening around him and his friends. Ingmar Bergman’s script doesn’t have much plot as it’s more about this remote life in this island as it mainly follows the character of Andreas Winkelman (Max von Sydow) who is first seen repairing the roof in his house where this woman named Anna (Liv Ullmann) asks if she could make a phone call.

He would meet her again at a dinner with friends Eva (Bibi Andersson) and her husband Elis (Erland Josephson) as sees Anna as a woman that stands for the idea of truth. Andreas would deal with the growing schism in Elis and Eva’s marriage leading to a brief tryst with the latter and revelations about what is happening around them that includes Anna’s presence as someone who is passionate about faith. When Andreas starts a relationship with Anna, it goes well at first but things start to become questionable as the film also feature subplots relating to acts of cruelty against animals where Andreas saves a dachshund from being hanged. It would play into Andreas’ feelings about the world and whether Anna could really cope with these harsh realities.

Bergman’s direction does have some elements of style though much of his approach to compositions are straightforward. Shot on the Swedish island of Faro, Bergman would use the location to represent a world that is falling apart by these cruel events as well as this air of fervor and madness over some of these incidents. Bergman’s usage of the wide shots doesn’t just pertain to the locations but also in some intimate moments in some of the homes as it play into the growing discord between Eva and Elis as well as Andreas’ relationship with Anna late in the film. The usage of close-ups and medium shots as well as these precise compositions that are part of Bergman’s visual style add to the drama as well as this growing disconnect with reality. Notably in a black-and-white sequence where Anna dreams about being in despair and unable to help out as it relates to an execution. It’s a strange yet chilling sequence that matches up with the events of when the film was being made where Andreas and Anna watch television that relates to the turmoil of the late 1960s.

The direction also feature brief interludes as the actors playing the principle characters each comment on the characters they’re playing as it adds to this discussion of faith, isolation, passion, and dissolution. Even as it play into Andreas’ brief tryst with Eva who confesses her own issues with Elis while Andreas later copes with the barrage of animal cruelty around him as he would help neighbors bury the dead animals. The film’s climax doesn’t just play into Andreas’ frustrations with the world but also the violence that surrounds him as he starts to become unhinged by Anna’s passionate rhetoric about faith as it raises questions about everything she believes in. Overall, Bergman crafts a gripping yet evocative film about a man’s relationship with a grief-stricken yet passionate woman.

Cinematographer Sven Nykvist does incredible work with the film’s cinematography with its gorgeous usage of color and lighting for some of the interiors as well as some natural lighting for the exteriors as well as a stark black-and-white look for Anna’s dream sequence. Editor Siv Lundgren does excellent work with the editing as it is largely straightforward in terms of its approach to drama as it help play into some long shots with a few rhythmic cuts and montages that also add to the sense of discomfort looming throughout the film.

Production designer P.A. Lundgren does brilliant work with the look of the homes of the characters including some of the farms nearby Andreas’ home. Costume designer Mago does nice work with the costumes as it has some style into what Eva wears though it is mainly filled by sweaters and winter-like clothing. The sound work of Lennart Engholm is fantastic for capturing the natural elements of the film’s locations as well as the loud sounds of sirens and terror from the television that to the sense of despair in the film.

The film’s terrific cast feature some notable small roles from Marianne Karlbeck, Barbro Hiort af Ornas, Brita Oberg, Malin Ek, and Britta Brunius as women that Andreas and Anna would meet in their dreams, producer Lars-Owe Carlberg as a police officer, Sigge Furst as a neighbor named Verner, and Erik Hell in a superb small role as the farmer Johan Andersson as a man who is targeted by locals believing he is the one that is killing all of the animals. Erland Josephson is excellent as Elis Vergerus as a photographer who is trying to capture real emotions as he copes with his failing marriage but also his fascination towards Anna.

Bibi Andersson is amazing as Eva Vergerus as Elis’ wife who feels neglected and unimportant leading to a brief tryst with Andreas where she later copes with the effects of the affair. Max von Sydow is brilliant as Andreas Winkelman as a loner who is dealing with divorce and dissolution of his relationships as he’s trying to keep things to himself only to have a brief affair with Eva and later be in a relationship with Anna that later brings trouble and many questions about Anna. Finally, there’s Liv Ullmann in a phenomenal performance as Anna Fromm as a grief-stricken woman with a passionate rhetoric for faith who is a woman seeking truth as she’s troubled by her surroundings as well as the world in general leading to many questions if she really believes in what she’s saying.

En passion is a tremendous film from Ingmar Bergman. Featuring a great cast, Sven Nykvist’s gorgeous cinematography, a provocative premise, and its engrossing themes on passion, violence, humanity, and alienation. It’s a film that doesn’t provide any easy answers about human nature and their own faults as well as how one’s beliefs can distort their view on reality. In the end, En passion is a spectacular film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) – Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) – Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician (1958 film) - The Virgin Spring - The Devil's Eye - Through a Glass Darkly - Winter Light - The Silence (1963 film) - All These Women - Persona - (Stimulantia-Daniel) – Hour of the Wolf - (Shame (1968 film)) - (The Rite) - (The Touch) – Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) – Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) – Saraband

© thevoid99 2019

Babette's Feast

Based on the short story by Karen Blixen under the Isak Dinesen pseudonym, Babette’s Feast is the story of a housekeeper who decides to create a feast for religious villagers in late 19th Century Denmark. Written for the screen and directed by Gabriel Axel, the film is a look into a woman with a mysterious past that decides to take action in the hopes of bringing people together to celebrate the 100th birthday of their late yet beloved pastor. Starring Stephane Audran, Birgitte Federspiel, Bodil Kjer, and narration by Ghita Norby. Babette’s Feast is an evocative and enchanting film from Gabriel Axel.

The film follows the life of two sisters and their French housekeeper who lived together for fourteen years when the latter had been taken in despite the fact that the sisters had no money. During their time as the sisters are running their father’s congregation with the remaining villagers left in their small village, their housekeeper plans to create a feast to celebrate what would’ve been the 100th birthday of the congregation leader. Gabriel Axel’s screenplay opens with the story of these two sisters in their youth where they are both pursued by different suitors who visit their small village but both women would stay with their father and later run his congregation. The story then shifts to thirty-five years later where the Frenchwoman Babette (Stephane Audran) has arrived based on the recommendation by a former suitor of one of the sisters who has left France due to a conflict in the country. The story would move fourteen years where Babette receives a letter from home as it would be a brief trip where she would return with ideas for a grand feast for the sisters and the villagers.

Axel’s direction is understated in terms of its setting as well as not going for any kind of stylistic shots to go for something simple and to the point. Shot on location in the small town of Lonstrup in Denmark, Axel would use wide shots to get a scope of the locations as well as some of its surroundings including its seaside cliffs and the oceans. Yet, much of what Axel would do is maintain an intimacy with its close-ups and medium shots where the film opens with Philippa (Bodil Kjer) and Martine (Birgitte Federspiel) is holding a congregation meeting with its small villagers while Babette would serve them food. The flashbacks of the sisters when they were younger as it’s told by Ghita Norby’s narration to play into the world they could’ve been in with Philippa being courted by an officer and Martine by an opera singer due to her voice. Axel would show why the sisters chose to stay as it relates to their father and the congregation that he is leading in this small yet fruitful community.

The tone of the film would change upon Babette’s arrival as she would eventually learn how to speak Danish as well as things do lighten up until Babette has to return to France briefly where a soup that she’s known to make that is recreated by the sisters isn’t as good. It would lead to the third act where Babette returns from France with a bevy of things as it relates to the film’s climatic feast. The attention to detail into what Babette would create in her feast is engaging where Axel is fixated on all of the ingredients she’s bringing in as well as the preparation for the entrees she’s making. The dinner which would include a couple of major guests as there’s a sense of apprehension from Philippa due to a surreal dream she had about what she and the guests will eat. Once the guests would get as their feast, something magical happens as it play into the unexpected as well as the familiar. Overall, Axel crafts a ravishing and sumptuous film about a French housekeeper and the feast she makes for her mistresses and their guests.

Cinematographer Henning Kristiansen does brilliant work with the cinematography with its usage of natural lights for many of the interior/exterior scenes in the village with a few artificial lighting for a few scenes in the places outside of the village. Editor Finn Henriksen does excellent work with the editing as it has some unique rhythmic cuts to play into a few scenes of Babette cooking or in moments that play into the lives of the two sisters. Production designer Sven Wichmann does amazing work with the look of the home that the sisters live in as well as the houses in the village and the interiors of the rich places that the suitors of the sisters lived in.

Costume designer Annelise Hauberg does fantastic work with the costumes from the plain and colorless dresses of the villagers to the colorful look of the officer’s uniform. Sound mixer Hans-Eric Ahrn does superb work for the sound in creating a natural mix of sounds to play into the atmosphere of the village and its surroundings as well as the climatic dinner scene. The film’s music by Per Norgaard is wonderful for its low-key orchestral score that has elements of opera and traditional religious music that play into the world that the characters live in.

The film’s incredible cast include some notable small performances from Gert Bastian as a poor villager who loves Babette’s soup, Pouel Kern as Philippa and Martine’s father, Hanna Stensgaard and Vibeke Hastrup in their respective roles as the younger versions of Philippa and Martine, Thomas Antoni as a Swedish lieutenant, and Bibi Andersson as a Swedish courtier that would introduce General Lowenheilm to his wife. Jean-Philippe Lafont is superb as the opera singer Achille Papin as the man who courts Philippa as he hears her voice and later send Babette to her and Martine. 

Jarl Kulle is fantastic as General Lorens Lowenheilm as a man who falls for Martine as he would see her years later in attending the feast. Bodil Kjer and Birgitte Federspiel are amazing in their respective roles as Philippa and Martine as two sisters who run their father’s congregation as well as dealing with its dwindling followers and reluctantly give Babette the chance to create her feast. Finally, there’s Stephane Audran in a phenomenal performance as Babette as a woman who becomes the housekeeper for two sisters where she would create food that would be extraordinary and wanting to return the favor to the sisters by creating a feast that would become an once-in-a-lifetime experience.

Babette’s Feast is a sensational film from Gabriel Axel. Along with its incredible cast, gorgeous visuals, sumptuous music, and images of delicious food, it’s a film that explore what an ordinary woman could to help two old ladies and a village in giving them something that is extraordinary. In the end, Babette’s Feast is a spectacular film from Gabriel Axel.

© thevoid99 2018

The Devil's Eye

Written and directed by Ingmar Bergman, Djavulens oga (The Devil’s Eye) is the story of Don Juan who is sent back to Earth by Satan in an attempt to seduce and take away the virginity of a vicar’s beautiful daughter. The film is a comedic story that relates to Satan wanting retribution over the beauty of this young woman by sending the greatest seducer of all-time to win her over. Starring Jarl Kulle, Bibi Andersson, Gunnar Bjornstrand, and Stig Jarrel. Djavulens oga is a witty yet mesmerizing film from Ingmar Bergman.

The film revolves around a revenge scheme made by Satan (Stig Jarrell) who asks Don Juan (Jarl Kulle) to seduce a beautiful daughter of a vicar and take away her virginity whose chastity has given him a stye in his eye. Don Juan agrees to do the task with the aid of a servant where he will be given 300 years off from his punishment but upon meeting the beautiful Britt-Marie (Bibi Andersson). The task becomes difficult as he realizes while things become more questionable where there’s a subplot of his aide in Pablo (Sture Lagerwall) who tries to seduce the vicar’s wife. It all plays into forces trying to create chaos and disrupt the ideas of faith as it is largely told in a humorous manner with commentaries by an actor (Gunnar Bjornstrand) who appears in between the acts. The film’s script by Ingmar Bergman isn’t just this growing fascination with faith but also temptation as it’s set in a modern world where ideas of faith are being questioned.

Bergman’s direction is stylish in some aspects of the film in the way not only presents Hell but also the fact that he takes a break from the story so that Bjornstrand can provide comments in a room while a frame of the film is actually playing in the background. The presentation of Hell itself is quite offbeat as Satan surrounds himself with guards from the late 18th Century while Don Juan is dressed up like a man in his time as it play into a sort of disconnect with the modern world. When Don Juan and Pablo arrive on Earth, they’re dressed in modern clothing as it is set in a Swedish countryside where Bergman does take stock in using a lot of wide and medium shots for the landscapes. The shots are also used in some of the key dramatic moments where the vicar’s wife Renate (Gertrud Fridh) is seen far in the foreground from her room and then walks to a door for a medium shot as it play into that sense of temptation.

Bergman’s usage of close-ups do say a lot to what Don Juan endures as it displays not just a sense of revelation for himself but also a world that has changed and how love is actually more complicated. Notably as Don Juan sees Britt-Marie’s own relationship to a man named Jonas (Axel Duberg) in one of its troubled moments. While Don Juan is aware of what he has to do, his attempts in tempting Britt-Marie becomes questionable from his own perspective where he copes with not just his own humanity but also faith itself. Even as Bergman would create comments about the fallacy of faith as if it play into the idea that God and Satan are toying with humanity in this scheme that Satan is creating. Overall, Bergman crafts a humorous yet provocative tale of Don Juan’s attempt to seduce a woman only to cause a further crisis of faith around himself and those he encounters.

Cinematographer Gunnar Fischer does excellent work with the film‘s black-and-white photography as it plays into the unsettling look of Hell as well as the wondrous look of the modern world in the scenes set at night with its usage of shadows and shades. Editor Oscar Rosander does nice work with the editing as it is straightforward with some stylish jump-cuts that emerge for a key character who watches over Don Juan. Production designer P.A. Lundgren does fantastic work with the look of Hell as well as the room of the actor that are in sharp contrast to the quaint home of the vicar.

Costume designer Mago does nice work with the costumes from 18th Century look of Satan‘s guards and the stylish clothes of Don Juan in Hell to the more casual, modern look of Britt-Marie. The sound work of Staffan Dalin and Stig Flodin is terrific for the way thunderstorms sound for scenes in the second act as well as some eerie moments set in Hell. The film’s music by Erik Nordgren does wonderful work with the music as it’s a mixture of low-key orchestral as well as lots of harpsichord-based music to play into the period of where Don Juan was alive at the time.

The film’s superb cast include some notable small roles from Kristina Adolph as an object of torment for Don Juan in Hell, Allan Edwall as an ear demon, Ragnar Arvedson as a demon that watches over Don Juan and Pablo, Axel Duberg as Britt-Marie’s lover Jonas, Georg Funkquist and Gunnar Sjoberb as Satan’s guards who are dressed as posh 18th Century figures, Sture Lagerwall as Don Juan’s aide Pablo who falls for the vicar’s wife, and Gunnar Bjornstrand in a fantastic performance as the actor who comments and introduces each act in the film. Gertrude Fridh is wonderful as the vicar’s wife Renata as a woman who becomes tempted by Pablo into having an affair while Nils Poppe is excellent as a vicar who would have an encounter with a demon while being tested over his faith.

Stig Jarrell is brilliant as Satan as a figure who is bothered by the stye in his eye as he hopes to exact some revenge on Britt-Marie for what he did to her while being this master of his own domain. Jarl Kulle is amazing as Don Juan as the famed lover who is a master in seducing women only to be challenged by Britt-Marie where he does something that is unexpected of him where he would make questions on himself. Finally, there’s Bibi Andersson in a radiant performance as Britt-Marie as a vicar’s daughter that is full of life and purity as someone that is preparing for life of her own while being entranced by Don Juan’s presence as well as some issues involving her own love life that play into the growing sense of cynicism and questions of faith.

Djavulens oga is a marvelous film from Ingmar Bergman. Featuring a great cast, a unique premise, and thought-provoking themes on faith and temptation. The film is a unique and humorous take on these ideas while being presented in a very unconventional fashion. In the end, Djavulens oga is a brilliant film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2016

The Magician (1958 film)

Written and directed by Ingmar Bergman, Ansiktet (The Magician) is the story of a traveling magician who arrives into a small town where he and his troupe are asked to perform a sample of their tricks to disprove suspicions of the supernatural. The film is an exploration into a man who wants to perform magic as he copes with those who believe that he’s up to no good. Starring Max von Sydow, Ingrid Thulin, Gunnar Bjornstrand, Naima Wifstrand, Bengt Ekerot, Bibi Andersson, and Erland Josephson. Ansiktet is a whimsical and mesmerizing film from Ingmar Bergman.

Set in the mid-19th Century in Sweden, the film revolves a traveling magician and his troupe who arrive in a small town where they have to contend with a group of town officials who want to prove that their so-called magic is nothing but a ruse. It’s a film that plays into the idea of what is real against what is fantasy as it is told in the span of an entire day where this magician has to prove to these men of science and facts to see that he is not a fraud as he is given a night to prepare for what he does. It’s a film with a simple plot where it is about the people living in this lavish townhouse in the middle of this small town as this magician named Albert Vogler (Max von Sydow) observes a lot of what is around him as he remains silent despite the attempts of intellectual doctors who think he’s faking it.

Much of the film’s two acts revolves around the preparation of the act as a preview while members of the troupe socialize with maids and cooks along with the people in the house. Its third act isn’t just about the performance but also the aftermath where it plays into this reality vs. fantasy idea and how science sometimes can’t prove what is real. Ingmar Bergman’s script also plays into the characters and the roles they play as Vogler is a very ambiguous character whose assistant Mr. Aman (Ingrid Thulin) is really a woman in disguise while those who want to discredit them include the house’s host Consul Egerman (Erland Josephson) and Dr. Vergarus (Gunnar Bjornstrand). All of which are playing into this game of who can outwit who.

Bergman’s direction is quite simple in terms of his compositions yet manages to find ways to inject elements of humor, drama, and horror into an entire film. Notably as he maintains something intimate for scenes set at the carriage or inside the house where there is a lot of things that are going on. Even as some of the comical moments involve one of the troupe members in Tubal (Ake Fridell) who spends his time flirting with women or somber moment where Egerman’s wife (Gertrud Fridh) is trying to seduce Vogler. Bergman’s usage of medium shots do play into Vogler’s stage performance as well as the approach to comedy and intrigue while horror would come later in the film to play into the idea of fantasy vs. reality. Overall, Bergman crafts a very delightful and mesmerizing film about a magician going into a battle of wits against a group of intellectual scientist and town leaders. 

Cinematographer Gunnar Fischer does amazing work with the film‘s black-and-white photography from his usage of shades and shadows for scenes at night including some rich interior shots with its usage of natural light as it is among one of the film‘s highlights. Editor Oscar Rosander does excellent work with the editing as it is very straightforward with some rhythmic cuts to play into the film‘s suspenseful moments along with its comedic moments. Production designer P.A. Lundgren does fantastic work with the look of the carriage as well as the rooms in the house where many of the characters converge to.

Costume designers Greta Johansson and Manne Lindholm do brilliant work with the costumes that play into the period of the 1840s from the clothes the men wear to the dresses of the women. The sound work of Ake Hansson and Aaby Wedin is superb for the sound effects that are created for some of the film‘s eerie and suspenseful moments as it plays into what Vogler is able to do as a magician. The film’s music by Erik Nordgren is wonderful for its array of music scores from whimsical numbers to more somber, string-based pieces to play into the drama as it is among one of the highlights of the film.

The film’s phenomenal cast include some notable small roles from Axel Duberg and Oscar Ljung as a couple of servants where the latter would contribute to a trick, Ulla Sjoblom as a police superintendent’s wife who succumbs to a magic trick, Toivo Pawlo as the police superintendent, Sif Ruud as the house cook Sofia, Bengt Ekerot as a drunken actor named Johan Spegel Vogler would pick up early in the film, Naima Wifstrand as Vogler’s very brash and outspoken grandmother, Lars Ekborg as the troupe’s stagecoach driver, Ake Fridell as the troupe’s charismatic spokesman, and Bibi Andersson as a young maid named Sara who would fall for the stagecoach driver. Gertrud Fridh is fantastic as a consul’s wife who goes to Vogler as she is still reeling from the loss of her child while Erland Josephson is excellent as Consul Egerman who wants to discredit and disprove Vogler’s tricks.

Gunnar Bjornstrand is amazing as Dr. Vergerus as a minister of health official who wants to see if he can discredit Vogler while he attempts to seduce Mr. Aman knowing that Aman is a woman. Ingrid Thulin is brilliant as Mr. Aman as a woman posing as Vogler’s assistant in order to maintain a role that she doesn’t want to reveal while being Vogler’s conscious of sorts. Finally, there’s Max von Sydow in a remarkable performance as Albert Emanuel Vogler where it’s a very restrained performance von Sydow doesn’t say a word for most of the film as he presents someone that seems tormented and overwhelmed in what he needs to prove to these men who are skeptical of his work.

Ansiktet is a sensational film from Ingmar Bergman that features an incredible performance from Max von Sydow. While it is a film that mixes all sorts of genres as well as play into Bergman’s own views on skepticism vs. faith in the form of entertainment. It is also a film that has Bergman pay tribute of sorts to the world of magic and what it could be for those that just want a bit of escape. In the end, Ansiktet is an extraordinary film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music of Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Simulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - Autumn Sonata - From the Life of the Marionettes - Fanny & Alexander - (After the Rehearsal) - (Karin’s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2015