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Wild Strawberries
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Product Description

One of the acknowledged classics of the cinema, Wild Strawberries confronts eternal questions of loneliness, aging, and mortality with a warmth and humanity not often found in Bergman's austere world. This visually rich and dramatic film follows an aged doctor's journey through a compelling landscape of dream and memory as he travels to receive an honorary degree. Haunting flashbacks and incidents along the way force him to confront his life and its failings. Victor Sjostrom gives a superb, affecting performance as the doctor. Bergman's dramatic use of light and dark to reveal the human mind and soul ranks Wild Strawberries among the world's greatest cinematic achievements.

An elderly college professor sets out in his car to receive an honorary degree--and takes a trip instead through his own past and subconscious--in this bittersweet but ultimately tender and understanding 1957 film by Swedish master Ingmar Bergman. Casting Swedish star Victor Sj?str?m in the lead, Bergman, then at the height of his powers as an international filmmaker, uses flashbacks and bright, lyrical storytelling to capture the full arc of one man's life: the successes that seem fleeting, the disappointments that linger in the memory, the regrets that never seem to let go. In some ways, it can be seen as a forerunner of Woody Allen's Deconstructing Harry, except that Bergman's sense of irony is always more profound. --Marshall Fine

Customer Reviews:

  • For mature and wise viewers.
    For most college-age students the Bergman film that seems to work best is "The Seventh Seal," even though "Wild Strawberries" is a similar story. The "plague" that Isaak Borg confronts isn't bubonic but old age and death, and his trip to the University to receive a medal is as pointless as the knight's trip to Elsinore to escape the plague. The journey that matters in both stories is the inner quest for meaning and purpose in a life that, in Isaak Borg's case, has produced a cold, judgmental, alienated old man. But in this film Bergman moves from theological questioning and the meanings of suffering and faith to the interior realm of time and memory and their relation to understandings of the self. Borg's journey allows him to see, first, that he has come up short and that there are serious questions to be asked about the way he has conducted his personal life; and, second, that even at the age of 80 he has been granted the opportunity to "re-vision" his past life, to affect people in the present, and to change. Few moments in cinema are as satisfying as the final shot of Borg falling asleep, a slight smile on his face, as he arrives at a peaceful moment of understanding and acceptance. At the beginning of the film, he awakens from a nightmare in which there are clocks without hands; at the end, he is back in time, reconciled with his past and with those who matter in his life. It's a moment of powerful atonement and redemption, optimistic but not implausibly so.

    "Wild Strawberries" makes up for John Huston's evocative but ultimately unsuccessful filming of James Joyce's "The Dead." The director catches some of Joyce's elegiac poetry but fails to capture the character of Gabriel Conroy. In one of the more powerful epiphanies in all literature, Gabriel sees, for the first time, his wife--as a lover but of a dead man rather than himself--and the gulf the separates them. His redemption, like Borg's, occurs almost at the last instant. No longer a superior, learned and arrogant being cut off from the relatives he has just patronized, his atonement, like Borg's, comes as he is rejoined to loves past and present, to both the living and the dead. Borg's moment of grace comes in the form of wild strawberries; Gabriel's, falling snow. ...more info
  • Journey into past
    This is a film about loneliness, regrets, disappointments, self-discovery, existential anxiety, forgiveness, redemption, our vulnerabilities and failures as human beings, and the acceptance of the world as it is. It reaffirmed my belief that Aristotle was right when he said that "happiness is the meaning and purpose of life, the whole aim and end of human existence" and that "learning is not child's play; we cannot learn without pain."...more info
  • Ingmar Bergman is BORING!
    I love "arsty" movies. I love Kurosawa. I like Eric Rohmer. My Dinner with Andre is one of my favorite movies. Those movies are interesting and engaging. Bergman is boring. His symbolism is purely symbolic,
    but there is not a coherent story. Why people think he's a genius I have no idea. See Woody Allen, at least he is funny. That is understood. ...more info
  • Essential film genius: Bergman's 'Smultronst?llet.'
    The world lost one of its greatest film directors last week. In his "celluloid poems" (as Woody Allen calls them), film genius Ingmar Bergman (1918-2007) examined the human condition in all of its bleakness, despair, humor, and hope, expanding our sense of what it means to be human. He favored intuition over intellect, and his films typically pondered the deepest concerns of humanity: mortality, loneliness, faith, and love. Considered one of his greatest films (and one of my personal favorites), Wild Strawberries (Smultronst?llet) (1957) brilliantly examines the life of an aging, 78-year-old medical doctor, Professor Isak Borg (Victor Sj?str?m). This film is about two journeys. While traveling with his lovely daughter-in-law, Marianne (Ingrid Thulin), from Stockholm to Lund to receive an honorary degree, Professor Borg also takes an inner journey of self-discovery; his daydreams, nightmares, and fellow travelers force him to face his past, examine his faults, and accept the inevitability of his impending death. Bergman's film explores the difficulties of marriage and human relationships, and the inability to communicate. Savor life's wild strawberries while you can. Success is fleeting, but regrets and disappointments will follow us for the rest of our lives. Because Borg's inner journey is universal, Bergman's film will always remain relevant and emotionally powerful.

    Criterion's edition includes a pristine digital transfer of Bergman's bittersweet masterpiece, a 90-minute documentary by filmmaker and author J?rn Donner, improved English subtitle translation, and a commentary by film scholar Peter Cowie. Highly recommended.

    G. Merritt...more info
  • Masterpiece
    Many reviewers have given Wild Strawberries five stars and I see no reason to disagree. I have only seen the movie once, but I know it is one I will watch many times at different points in my life. The film is a masterpiece of reflection, memory and nostalgia. Bergman's directorship is sublime, as the elderly Isak Borg encounters dreams, nightmares as he travels to be honoured for his work as a doctor, but faces to the inner turmoil of his consciousness. It is the best portrait of what it must be like for a reflective, elderly man to be nearing the end of his days I have ever seen on screen. The set pieces - the childhood reprises, the rowing couple in the car accident, the bohemian, vibrant menange a trois with Sara, her fiance and escort (or other lover?) - accumulate to create a compelling, moving and tense tapestry. And the women (especially the wistful Marianne, who accompanies her uncle Isak for his journey, and suffers from her own marital problems with her angst bedevilled husband) are amongst the most beautiful in all cinema.

    Wild Strawberries was my first Bergman film. But I know I have had the rare experience of discovering an artist whose work I know will compel me for years to come. Thankfully, there are many more jewels in the Bergman canon to appreciate. ...more info
  • Perfect edition of a masterpiece
    Criterion have produced another superb edition here. The image quality is exceptional. There is an entertaining and educational commentary from Peter Cowie (also heard on Criterion's issues of The Seventh Seal & Autumn Sonata by Bergman). And there is a ninety minute conversation, filmed in 1998, between the seventy-nine year old Bergman and his friend, the writer, Jorn Donner. For those of you interested in other Bergman titles on DVD, Tartan Video has released many in the UK, and they are available via - the sound and image quality of these are excellent.
    The film itself seemlessly blends reality with dream and memory, and in so doing asks how clear are the distinctions ordinarily drawn between these states. Bergman remarks that the genesis of many of his films were dreams - he remembers virtually all his dreams in vivid detail, and this facility influences his work wonderfully. Yet Bergman had extensive experience in theatre, both writing plays and directing classics, and, of course, in film - in fact he was involved in over 20 films prior to this - so the film has none of the laxity or directionlessness of dreams. He structures each scene, and indeed the film as a whole, tautly, adhering to dramatic priniciples, and sustains the viewer's interest throughout.
    As an evocation of a state of mind particular to old age, Wild Strawberries is remarkable. Peter Cowie's comments intimate that he, a contemporary of Bergman's, finds this especially moving - his commentary is definitely worth experiencing. The life situation of the lead actor, Victor Sjostrom, was in some ways uncomfortably close to that of the character he was portraying - beset by health problems, aged 79 and himself contemplating death - and one senses how these personal issues enrich his performance and make it horribly disturbing and moving. Borg seems at once sweet and irascible, and Sjostrom was reported not dissimilar on set. Further resonances occur in the 1998 interview with Donner, where Bergman has eerily metamorphosed imperfectly into a version of Isak Borg (Cowie points out they share the same initials).
    While dominated by the figure of the aged medical Professor, the film contains many counterpoints. Ingrid Thulin as his daughter-in-law is a magnetic screen presence and a remarkable actress (see Bergman's 'Winter Light' for an entirely different performance) - her marital relationship throws Borg's own history into relief. Gunnar Bjornstand's, as husband to Thulin and son to Borg, delivers an icy performance, some of their interchanges being amongst Bergman's most 'chilling', to borrow a word from Cowie's commentary. Then there is the host of grotesque minor characters, each in their own way perfectly drawn. The surface of this film is incredibly complex, and to reduce it to merely 'the reminiscences of an old man on his way to receive an honourary degree', or some such summary, is a misleading injustice.
    Perhaps also of interest is Woody Allen's film, 'Deconstructing Harry', where an aged writer similarly travels out of town to receive an honorary degree, examining his own life in the process. Woody's use of 'Wild Strawberries' as a template for his own concerns is masterful and, of course, very funny. The skill in the writing and structure of this film is of the highest order. If it fails to match Bergman anywhere, perhaps it is in the imagery, Bergman visuals being formally astonishing, no doubt aided by his cinematographer, Gunnar Fischer.
    In the interview, Bergman recounts his time in a mental asylum in the 1970's; he also mentions his last wife's death, and other personal details that are startling in their candour. Yet, perhaps a measure of his achievement lies in the fact that his films reveal his thoughts and inner life much more perceptively than even this apparently unguarded conversation. He has expressed himself with unparalleled skill through his art....more info
  • A life-changing experience
    I saw this film when I was perhaps twenty. I was visiting a friend at Cornell and we went to a crowded student auditorium and saw the film on a Saturday night. When the film ended and the lights went up, I remember the silence. Except for a few people fighting back sobs, you could hear a pin drop. This film had hit a bunch of college kids that hard. Today, one can see it again and learn so much. Back then, I remember having only one thought--when I die, will their be anyone there to say that they like me? For anyone intimidated by Bergman, don't worry. Yes, many deep and important layers of art and philosophy can be explored in his movies. But just as often, a crazy, emotional, heartfelt explosion will go off in your head while you watch his movies. I experienced it in Smiles of a Summer Night, Persona, Scenes from a Marriage, The Seventh Seal, and most profoundly with Wild Strawberries. Enjoy!...more info
  • Wild Strawberries
    This is Bergman's first work where surreal sequences are imbedded in the picture. Though not intertwined with reality as in his later films but rather clearly separated from the flow as Borg's dreams, those scenes are terrific and must be very unusual at the time. Ingrid Thulin's calm beauty compliments her excellent performance greatly. There are a few minor but irritating details one cannot miss, particularly, the highway accident with the car hurling into a ditch as a football and its passengers getting out with a smile and without a scratch, and Sara and the boys. While Bibi Andersson looks just a bit older than the 17-year-old character she plays, the boys long forgot when they were that age, now both of mature complexion and well-shaven. Slightly over-hyped, it's a very good film nonetheless....more info
  • This is what film is about
    Having viewed this brilliant film for the third time, there is no doubt that this film holds up. To think that this film was made in the 1950's is simply amazing. The Criterion commentary by Mr. Cowie really helped in my appreciation. I could not understand how Bergman could have made this movie when he was not even 40 years old. Bergman was quoted as saying that the lead actor (and former director) Victor Sj?str?m kind of took over the character, leaving not a "crumb." Maybe that is one example of how director Bergman was able to make so many films over so many years that have stood the test of time. ...more info
  • Formidable Film at Start of Formidable Career
    It is hard to imagine living up to this film with the rest of your career with this one in its beginning. Fortunately, director/writer Ingmar Bergmann was up to that challenge. I didn't appreciate this film as much when I first saw it decades ago as I do now. It is a stunning look at an aged professor's long journey inward, exploring where he is from the prism of his past through his underlying consciousness. The dream sequences alone in here are absolute masterworks. Plus I was startled to discover that Woody Allen's scenes of a character's visiting his childhood home and family in his older self ("Crimes and Misdemeanors") was used first by Bergmann in this film, decades earlier. The wild strawberries grow around the house where the professor had his early, formative experiences, especially with the young woman he loved and didn't get to marry. The scenes with her, where he walks back into the past and interacts with her in his old body, while she is still in her young one, are stunning. He also has to bring some sort of closure to the troubled relationships in his present life, chiefly with his son and daugher-in-law. I've read some of Bergmann's screenplays and there is a clarity and simplicity to them that is surprising given the complexity of his films. A great, great talent and I stronly recommend that you also track down his "Fanny and Alexander," which is every bit as stunning but made later in his career....more info
  • vermooten!!
    An old man goes picking wild strawberries in a wood, and ends up playing chess with Death. But it turns out that Death can't play Battleships as well and Bill and Ted, so he becomes their slave.

    An interesting comment on human nature, and the on the varieties of vermooten that could be found in southern Sweden not long before the 60's reclaimed the word "prepuce"....more info

  • "I must tell myself something I won't listen to when awake..."
    So says Professor Isak* Borg (Victor Sjostrom), the protagonist in "Wild Strawberries," who's been having some frightening dreams that call into question his whole life. Beginning with the famous opening scene of Borg's nightmare of loneliness, isolation, and death, the film moves us between past and present with a series of day dreams and sleep dreams, some of them pleasant memories, some of them bitter memories, some of them forboding nightmares that speak to the aging Borg's anxiety that his life has somehow gone wrong.

    The film is wonderfully conceived: a one-day car journey symbolizing Borg's life journey; Borg's "dream" encounter with the past, especially his memories of his cousin Sara, symbolized by his present encounter with youth in the form of the hitchhiker Sara (both roles cleverly played by Bibi Anderesson); the continuity of coldness between generations, from mmother to son to grandson; Borg's daughter-in-law Marianne's decision that the child in her womb will break the pattern of alienation characteristic of the Borgs; the nonsexual intimacy between Professor Borg and his housemaid that Borg never found with his wife. Past merges into present, the future seems now (hitchhiker Sara; Marianne's pregnancy), and the message is one of great hope. Even a life that's gone wrong can be redeemed.

    The performances are stellar. Ingrid Thulin is superb as the wounded but strong Marianne (she's also stunningly beautiful). Bibi Andersson is perfect as the spunky teenager Sara (present-day). Max von Sydow, although he has only a walk-on role, is touching and convincing. Even Gunnar Bjornstrand, an incredibly wooden actor in every performance I've ever seen, is good here--precisely because his role calls for a wooden, emotionally shutdown man. And Victor Sjostrom is simply magnificent, capturing with heartbreaking realism the nostalgia and regrets, but also dignity and wisdom, of old age.

    So why do I give the film only 4 stars? I just don't think the dream sequences work all that well. As in the overture to "Persona," they strike me as overdone and sometimes heavy-handed, particularly the opening nightmare and the latter examination dream. I could forgive this. But what I found almost unbearable was the mawkishness of the summer house scenes, where everyone is happy and wholesome, somewhat reminiscent of the syrupy "It's a Wonderful Life." Perhaps Bergman intended them as such--a kind of parody of middle-class, late nineteenth- century contentment. But I don't think so. That interpretation really does seem forced. So the only conclusion to be drawn is that Bergman meant them as genuinely happy memories, and they come off as grindingly pollyanna-like.

    So "Wild Strawberries" isn't one of my favorite Bergman films. But it's a great one nonetheless.
    *Is there some significance in the fact that almost all the film's characters have Hebraic names? Knowing Bergman, there must be....more info
  • A Classic Masterpiece, Completely Pleasent To Watch
    I wasn't familiar with Ingmar Bergman until I watched this incredible, astonishing masterpiece of the 50's. Wild Strawberries tells the story of Isak Born (interpretated by Victor Sj?str?m, in a very memorable acting),long-time medical professor, who is about to receive a honorary recognition of his work from his former university. The story unfolds and focus more during his travel to the university, in which he turns to learn more about himself and his keening manners and thoughts, not to mention his remembrances and the people he meets, offering them a free ride for their destinations. He also has to deal with his son's ruined marriage, due to a unwelcome child.

    Bergman gives a very humanist view here, discussing themes such as the human science against divine beliefs (God), death and loneliness, all together with some escaping irony and sarcasm.
    Something I find pretty interesting to mention is that he everything he dreams, he consider them as "messages". Sigmund Freud once said that purpose of dreams are to notice situations or discomforts.

    Despite interpretations, this movie is good as hell. Or as God. Or as human science...more info

  • Wild Strawberries
    One of the warmest and most cherished of Bergman's early films, "Strawberries" is an understated gem that not only brought the director world fame, but changed the way American audiences viewed the art of film altogether. Professor Borg's odyssey into the past is poignant and heartbreaking, joyous and ironic in equal measure, especially as his memory of young sweetheart Sara (Bibi Andersson) is echoed in the present by the appearance of a hitchhiker with the same name, also played by Andersson. Rich with symbolism and dreamlike visuals, "Strawberries" is an unusually tender film from the Swedish genius....more info
  • Great
    Watching Swedish filmmaker Ingmar Bergman's Wild Strawberries for the first time was an interesting experience because of three reasons. One, the film itself is terrific. Two, I watched it the same night as the 2006 Academy Awards, and was struck by how Bergman's film never condescends to its viewer, unlike the major nominated Politically Correct films Hollywood churns out and rewards. Three, having always known of Bergman from the films of American filmmaker Woody Allen, I was struck at just how much Allen steals from Bergman in many of his films- from camera angles and techniques, to outright theft of scenes. Not that I am accusing Allen of wrongdoing, for T.S. Eliot basically admitted that if an artist is to steal, they should steal from the greats, and Bergman crafted a great film, rife for purloining, back in 1957.
    The story the film tells is rather simple- it's a road film that journeys into the past and psyche of a retired widower and Professor of Medicine named Isak Borg (Victor Sj?str?m). Sj?str?m was apparently a greatly influential actor and director in the first few decades of Swedish cinema, but by 1957 had spent a decade or more in declining reputation. This film and role sealed his immortality. It is a great performance, and one which a lesser actor could easily have gone over the top with. There is a perfect modulation to not only his performance, but to every aspect of the film, starting with Bergman's stellar screenplay. I would be hard pressed to think of a great film, or even a good one, that lacks a good screenplay. This is one of the ironies of film, versus the other visual arts- it's almost wholly dependent upon an art form, writing, with an entirely different paradigm.
    Bergman was wise to have his film clock in at a mere hour and a half. It is a small, personal film, despite its cosmic undertones and themes. In a sense it balances the best of the dramas of Shakespeare and Chekhov, which is where the plays of Ibsen and Strindberg, Bergman's two greatest claimed influences, reside. He also wisely fills the detritus of Borg's life with symbolism that others- in the film or out- can interpret, but to Borg are just there. In a sense, the most important scene in the film, the one which acts as a fractal refraction of the whole film, is that where Borg and his mother pick through the old box of children's things as Marianne looks coldly on, misinterpreting both mother and son for her own reasons. For this reason, Wild Strawberries stands out not only as a great piece of cinema, but its screenplay as a great piece of literature. And given the multivalence of such art as this, to skillfully combine great imagery with great storytelling in a poetic vein, it's no wonder that film has become the dominant art form of the last half century, supplanting the novel and painting, just as they had supplanted poetry and the romance.
    Let me end this essay where I began, lamenting the greatness of this film juxtaposed with the supposedly `great' films that Hollywood proffered for Oscars this year. It is like comparing a rich, diverse banquet with a greasy bucket of Kentucky Fried Chicken. Period. One of the complaints that I have always found valid about great art is how it is usually always too expensive for the average person to enjoy- be it paintings in swank galleries, small books of poetry several times the price of novels, outrageously priced theater and opera tickets, or even foreign films on video or DVD. This was one of the major reasons it took me so long to watch this film, because the DVD I purchased, from The Criterion Collection, retails for $39.95, while your average Hollywood blockbuster can retail for a third that, or less. Is it any wonder, then, that the masses choose swill to fill their free time? In the name of raising up the filmic awareness and appreciation for the great films of the past, foreign or domestic, like Wild Strawberries, I urge companies that distribute foreign films to do their best to make good quality DVDs of such classics available more cheaply, for there is a market to be filled with great affordable art, and once a taste of greatness is given, the market will only expand, and justify the demotic impulse to lower prices with an increased quantity of sales making up for loss of high profit margins per unit. Dover Thrift Editions in America, and Wordsworth Editions in the U.K. have proven that great books cheaply distributed is an economically viable strategy, and I believe the same is true for great films. Why should films like Wild Strawberries remain only in the province of film snobs, and not made available to compete for viewership with contemporary schlock like Brokeback Mountain or Crash simply for economic reasons? Greatness in art may exact a price from its creators, but price should not diminish art's reach. Great films like Wild Strawberries deserve to be freed to the masses, to be enjoyed and enlightened. Watch it and you will agree.
    ...more info
  • Entertaining and even downright touching, but rather lesser among the late '50s Bergman
    Of the three films of the late '50s with which Ingmar Bergman established his reputation as one of the foremost auteurs of the age, 1957's SMULTRONSTAELLET (Wild Strawberries) may be the weakest. Like DET SJUNDE INSEGLET (The Seventh Seal) and JUNGFRUKAELLAN (The Virgin Spring), it treats issues of religious faith and fear of death, but in a much less coherent way. Yet, SMULTRONSTAELLET may be the most charming and endearing of the trilogy, as we watch a crusty old man examine his past and decide to treat those around him better.

    The Scrooge-like figure is Isak Borg (Viktor Sjostrom), a retired professor of medicine now in his 78th year. Invited from his Stockholm home to receive an honourary degree at Lund University, he decides to travel the distance by car. Accompanying him on this outing is his daughter-in-law Marianne (Ingrid Thulin), who is experiencing marital troubles with his son Evald (Gunnar Bjornstrand). Along the way, Borg stops at some old stomping grounds, such as the summer house he spent his childhood at, and the area where he first practiced medicine. As Borg drifts into reveries of old memories, we discover how he became so bitter and hostile, but Marianne's incisive comments push him towards rediscovering his humanity.

    Of course death is an ever-present spectre when Borg is pushing 80. But the strong religious element comes when Borg and Marianne pick up three hitchhikers, a young lady (Bibi Andersson) with her boyfriend and a family-appointed chaperone. One of these lads wants to be a priest and has strong faith, while the other is hoping to become a doctor and doubts the existence of a god. They quarrel, but somehow this entire matter seems unrelated to the main arc of the film. Similarly baffling is Evald's babblings about how he doesn't want a child because he himself does not want to exist, in which the writing almost seems parody Bergman.

    The acting, however, is superb. Sjostrom really brings his character to life with his initial bah-humbug mannerisms and his later senile puzzlement that he cannot win everyone back to him right away. It's amusing to see Bibi Andersson playing a ditzy teenager, a role light years away from her intense turn in Bergman's PERSONA almost a decade later.

    The most economic way to see SMULTRONSTAELLET is in the Criterion Collection set of four Bergman films from the 1950s. ...more info
  • Finely Crafted Existential Classic
    It is certainly fair to say that much of Igmar Bergman's work (The Seventh Seal, Fanny and Alexander) takes an experienced mind to fully appreciate. As elitist as I'm in danger of sounding for writing that, I do believe it, but I will also concede that I am by no means experienced enough in life to appreciate Wild Strawberries fully. It makes me wonder why a film like Wild Strawberries would be shown in film classes to budding and perhaps talented artists, but not unlike me, they are most likely novices at life. Dr. Isak Borg (Victor Sj?str?m) is not a novice. He knows what it is like to lose love and surrender to something less. He knows exactly what it is like to be lulled and deceived by life's trials. For so long he was dead in life and would become alive again during the process of his death. It is a bittersweet and profoundly beautiful realization that Dr. Borg is compelled to find in this truly amazing film.

    Wild Strawberries follows the one day journey of 76 year old medical scientist Isak Borg. Isak was born into a family of ten children and he is the only one alive today. He has been a doctor for fifty years, a father for probably more than thirty years, a widower for some time, and socially he has withdrawn quite a bit. He is being rewarded for his professional accomplishments and he travels to his destination to receive his honors. Through interactions with various characters, through triggered memories, and sometimes through horrific dream sequences, this film turns out to be a meditation on Dr. Borg's life. It is ultimately about a man in the twilight of his life gazing into the mirror, perhaps for the final time, to find some level of resolution and comfort.

    There are so few filmmakers today making existential road films like this. Alfonso Cuar¨®n (Y tu mam¨˘ tambi¨¦n, Children of Men) comes to mind. It's so rare to find something so deep and succinct. Most films that rely to any degree of making philosophical statements through dream sequences and similar devices are often reduced to being vague, cryptic, and sometimes even pretentious. Wild Strawberries provides both a glimpse into the psychology of Dr. Borg as well as a more macrocosmic spirituality some viewers will empathize with and find endlessly rewarding. It is a film about nerves and dread but at the same time it is a film about authentic self-identity, satisfaction, and peace. There's a lot to learn here. This is a film to enjoy multiple times for sure.
    ...more info