INFIDELIDADESY
ELDOLORDELAHISTERIA
Infiel (2000)
(TrolA ¶ sa)
DirecciA ³ n: Liv Ullman
Guia ³ n: Ingmar Bergman
Director de FotografAa: Ja ¶ rgen Persson
Productor: Johan Mardell
ProducciA ³ n: Sveriges TV Drama
Inta © interpreters: Lena Endre, Erland Josephson, Krister Henriksson, Thomas Hanzon
infidelities
The film tells the life of a woman who has a historical neurosis © rica, and in it we see the pain of hysteria, because it can not be happy, but it is most unfortunate s, and constantly unsatisfied, we have the example on the tape where she (Marianne), has everything to feel satisfied and happy, has a husband (Mark), a daughter (Isabelle), a house, etc. Her husband has a friend, but she tries to ruin this seemingly happy family, just with the family friend, David.
â € œDavid and Markus were friends, the vein to be home for dinner and was a friend of Isabelle (daughter of Mark and Marianne), Ã © l room with her at times €. ©
The rich historical searches his fellow man, loved or hated, the Other of his ghost, those items that is strong and abuse this power to humiliate and dà © Biles points to feel compassion ³ n. We see Marianne acknowledges these points and David Markus. Marianne
describes David: â € œ ... David is ... is ... 40-year ± os, talented, unpredictable, friendly, detail ... rude and brutal ... not have too many friends ... rather have enemies ... very detailed ... Perfectionist ... very careless life privadaâ €. Marianne describes
After Markus said: â € œtu know how it is ... Family Judah ... average ... has musical talent ... professional ... componÃa ... played pianoâ € ... "The only problem was that Tena choose € ... â € he loved life, joie vivreâ € ... â € Isabelle is very similar to Markus, closed to bear strange ± €.
The rich historical © transforms the material reality of the internal or external objects fantasmatizados objects, ie hystericized, such an expression n eroticized human or whatever, even for themselves, in intimate, non-sexual nature, with the utmost in innocence, not knowing what is not sexualized sexual appropriates every gesture, every word or all perceived silence on the other or qua © Ã © l it leads to another, when we see Marianne note:
â € œ ... Everyone congratulated and embraced on stage and (It was found to David) went to dinner together at my house (she was alone at home without Markus, Dormaa daughter) went to see Isabelle, I wore a robe and I comb, I made an omelet and comimosâ €.
â € œ ... We are like brothers ... Markus might arise anytime ... both tenÃamos dream ± o, it was time to sleep ... The sister with the hermanoâ €.
â € œ ... Do you want to make love?  € He told David, she pretended not had heard and asked â € žÂ what had him say?  €, of course, she Bean heard that proposal, David asked, once more s: â € žÂ you want to make love? â €, she respondÃa this proposal: â € œDavid as you think you can spend it ... thanks for the offer ... maa ± ana me rise up tempranoâ €. David â €
Oele proposed € separadasâ sleep in beds, but she preferred to sleep together ³, told him: â € OESI want to sleep with me is, if you're sad or alone I can hold hands € ... â € we undressed, like an old couple ... aha until everything was fine, right, nothing bad ... we got in bed ... seguÃa all like brothers, not incest ... (³ takes you by hand) ... © and Tena woke her face in front ... © looks ... © looks at him closely, I realized that never before had seen that ... was someone who existirÃa one second s most never see it, not thinking he was not thinking ... â €
The historical © rich organic can have sex SMIC (clitorÃdeo orgasm or vaginal) without compromising their being women, they worsen ± a surprisingly in insatisfaccià ³ n, wants to be dissatisfied with the satisfaction that guarantees the fundamental sanctity of his being. The most s is unsatisfied, is better protected against the threat of a pleasure that she perceived risk of disintegration ³ n and madness.
When they had sex for the first time, David and Marianne, she says â € œ ... I can not explain who spent as long It shall be inside my body ... â €, Marianne tells David â € Oeun Fun before death ... played by higher demands ... â € â € says Marianne œaunque then I'm not happy with my partee €.
Marianne says: â € œestaba in a state caa ³ tico, never the same, Â "I keep everything to myself? or Do I say to David? ... flashing lights or caution encendidasâ € n
Marianne were talking about Markus says: â € œhabÃamos n had good sexual relationship, sometimes when the perdÃa love hacÃamos head, concienciaâ €, then you insinà º Markus can be unfaithful to David, and Markus said: â € Oeta º and David is impossible, it would be a betrayal n and I know you and David also © nâ €. © s
After having returned from Paris, where algae passes ³ º n Marianne time David goes to the department again and there have sexual encounters, she says with reference to this: â € œfue like a dream ± o. .. where s what I fear most happens again and again (orgasm) ... says she was weird, not to cavities ± osa ... awkward ... aggressive ... David was impatient, inaccessible, I was afraid ... try to take their hands and wanted to get away €.
Marianne says: â € œ ... we see twice a week, sometimes I feel anxiety, something I sucedÃa that it could not control, it could not take decisions a personal one, never talk about this, how I can talk about that which has no words? It is relentless, frightening, the process can not be stopped, David grows in Marianne, Marianne does not want to expose ... â €
People are seductive rich historical © par excellence,
but they are not aware of the process say â € Oeno is still € because I do not know as seduce them born, and do not realize. œeste matter â € ³ David went from nothing to what madness possessed me ³? I just thought tena take David to Paris €. Â €
œahora will actually be unfaithful, adultery planned, it was real, David came in here tardeâ € Marianne can be seen that there is a tinge of guilt.
In the hysteria of transfer talks in the sequence painful transfer, which is evidence of distress, with this record © the Dora case, she decided ³ not to continue the process and not face this test of anxiety in the movie I see that when Marianne does not want to go where the director, who vendrÃa to be like the analyst, is because it is at the gates of test anxiety, in other words, to make it more s of course, the definition n which gives the book is: an ana lysis is returning to the starting point, the point of origin ghost tico of neurosis, and play within the cure the same situation ³ n of danger in the unconscious, causes distress . ie, create anxiety and then solve it, it is instituting a new neurosis, hysteria transfer and try to find a better way then the Conversion n. This other way must be directed towards all analÃtico work is condensed into a formula: go through the anguish. The psychoanalyst aims to create the conditions for the analysis confronts, at last, your fear. Marianne is absent
going to talk to the â € œdirectorâ €, said that the absence is for a cold, but then says in the letter: â € œtu you sit at your desk and hope that Marianne does all the work. .. I am haunted ... but it is difficult to talk about it is impenetrable ... I'm in a situation that worries me ... I get the fear at the thought of Isabelle, I think of horrible words in front of a wall to what I'm doing to Isabelle? Â "I'm doing Isabelle? ... Marianne inside there is another person with another € compile id. Marianne
speaking of jealousy that David asked about her lovers, remains indifferent to the game, gives details of his biography erotic, both fray, it becomes more s bold and â € œ ... ³ tonight hell broke loose, jealousy You are right not to be ... I think I will stick ... David beats him and what he says is  Marianne stop! ...  bloody idiot!  €, then Marianne David Rae and distressed the same way but is angry, but shocked, â € œcambio our relationship n this nocheâ €. N
This relationship was in one way or towards a direction in which Marianne is pruned find happiness, pruning and not be dissatisfied, as well that unconsciously he had to ruin, to tell his entire sexual history to David. Marianne
to reach Copenahue are staying in a hotel, then comes David, Marianne hugs him and begins to mourn, â € OEERE two people drowned ndoseâ €, cry, cry, â € we hugged but we could not do love, can not sleep € David tells Marianne: â € œnunca € bean felt so much pain and Marianne thinks: Do you must be so painful? Do other login and pay?. The historical ©
rich are always acting in a movie, even though Marianne was an actress, mentions this phrase implies she sees as â € œ ... it is impossible if we as actoresâ €. © s after having made love with David.
The Phantom of castration ³ n in the historical © rich saves and protects the enjoyment, but to disrupt their way of perceiving beings loved or hated, and this will depend on; the perception of its strength or its weakness football lica. So emotional relationships of historical © inevitably become rich relationships of dominant and dominated. Marianne
to be discovered by her husband Markus feels humiliated, she says â € ³ œaquà began tragediaâ €, says the threat was Marianne Markus € â € œva hurt.
http://www.mundofree.com/cine_nordico/Ingmar_Bergman.html
http://www.mundofree.com/cine_nordico/Infiel.html
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