Want To Watch This.

the NY Times reviewed this film in today's paper. Here is the review:

.December 12, 2013
Movie Review
A Filmmaker’s Hold on His Muse
By STEPHEN HOLDEN
“Liv, you are my Stradivarius,” the great Swedish filmmaker Ingmar Bergman once told his most famous muse, Liv Ullmann, who knew him for more than 40 years and appeared in 12 of his films. Bergman died in 2007, but Ms. Ullmann, still radiant in her mid-70s, soldiers on.

In Dheeraj Akolkar’s worshipful documentary, “Liv and Ingmar: Painfully Connected,” she calls that violin comparison “the best compliment I ever got.” In snippets from Bergman films skillfully used to illustrate the shadowy line between art and autobiography in many of them, Ms. Ullmann’s face registers an astounding emotional transparency.

Portions of this small, likably sentimental film, narrated by Ms. Ullmann, are drawn from “Changing,” her 1976 autobiography. It also includes scattered excerpts from Bergman’s letters, read by Samuel Fröler.

When Ms. Ullmann and Bergman met and fell in love, she was 25, and he was 46, and each was married to another. They eventually had a daughter, but they never married.

Oh, to have a consuming passion like theirs, you may sigh to yourself, as you study pictures of the golden couple, whose first film together, “Persona,” was a masterpiece. But as the documentary’s subtitle indicates, intimacy as intense and ravenous as theirs has an inevitable component of pain.

At least during their first summer together on the small island of Faro, Sweden, where Bergman built his house, Ms. Ullmann recalls: “It was as if I were living in soft walls of sunlight, desire and happiness. No summer has ever been like that.”

“Liv and Ingmar” is divided into chapters: love, loneliness, rage, longing and friendship. Bergman built a wall on one side of the property to prevent them from being observed, and in Ms. Ullmann’s words, the house became “almost a prison.”

“After a short time, I was confronted with his jealousy,” which was “violent and without boundaries,” she recalls. Wednesday was the only day of the week when he allowed her to leave his side and be with others. At the appointed time for her return, she says in the film, he would stand watch, waiting.

He allowed his anger to enter the work and would sometimes punish her. Once he forced her to stand frighteningly close to a fire. She describes shooting a scene from “Shame” in a small boat in the bitter cold. Bergman was comfortably bundled up, while she nearly froze.

She eventually came to realize that Bergman’s rages stemmed from emotional insecurity, and her slavish adoration of the great man softened to respect and admiration. The agony of their breakup after five years together was compounded by media coverage that made it news throughout Scandinavia.

Ms. Ullmann was happily surprised by Bergman’s approval of her Hollywood phase, in which she was unsuccessfully marketed as a successor to Greta Garbo. And when Ms. Ullmann appeared on Broadway in “A Doll’s House,” Bergman, who loathed traveling, flew to New York to see her.

By this time, their unruly passion had transmuted into the kind of deep, solid friendship shared by two people who have fought a war together and survived.

Liv and Ingmar

Painfully Connected

Opens on Friday in New York and Los Angeles.

Written and directed by Dheeraj Akolkar; director of photography, Hallvard Braein; edited by Tushar Ghogale; music by Stefan Nilsson; produced by Rune H. Trondsen; released by Janus Films. In Manhattan at the Elinor Bunin Munroe Film Center, 144 West 65th Street, Lincoln Center. Running time: 1 hour 23 minutes. This film is not rated.

There was also a nice pic leading the review:

http://graphics8.nytimes.com/images/2013/12/13/arts/13LIV_SPAN/LIV-articleLarge.jpg

Here's a link to the review:

http://www.nytimes.com/2013/12/13/movies/liv-and-ingmar-documents-a-relationships-highs-and-lows.html?ref=arts&_r=0