In the early fifties Ingmar Bergman got himself a cine-camera, a 9.5 mm Bell & Howell, which he often used both privately and in his work. Images from the Playground embark on these films, giving a diverse representation of one of the greatest artists in cinema.
”When I come into the studio with my camera and colleagues around me, we always seem to be starting a game. I remember exactly like when I was small and took my toys out of the toy cupboard. It’s exactly the same feeling”, Bergman says at one occasion.
These imagery from the director’s grown-up playground is accompanied with Bergman’s own commentaries from various interviews. Whereas the actresses Harriet Andersson and Bibi Andersson – exposed to Bergman’s loving eye in these wealthy documents – also contribute with personal