After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence. Who am i? Where am i going? What shall i become in this world after my death? This are the questions that this movie definitely aks it's viewers and here's the answer who really cares? your movie is stupid, overrated and just boring. Nothing happens and nothing shall ever happen with movies so bad that somehow were released and even got themselves into a list that shouldn't be but then again should i ever really be that suprised? (0/10)

(Flash Review)Dr. Borg has reached that point in life, at age 78, where he reflects upon and realizes he has dug many emotional voids. During a long car trip, along with his daughter in-law, to where he is to receive an honorary degree he reminisces about his past decisions. Through flash backs and dream scenes there is much symbolism to punctuate the choices made. The emotional journey the man takes involves soul searching and may lead to potential healing of past relationships he has soured. The film has a rather expected story arc and for me lacks striking cinematography or shot framing. There are many quiet symbolic moments that would be ideal to analyze in a film class as they aren't obviously apparent. Overall, I know this is a Bergman, but it didn't mesmerize me visually aside from the clever editing and the poetic storytelling was lessened by an unsurprising story arc.

Wild Strawberries is at once a road trip film, and a trip down memory lane. 78 year old Isak journeys through idyllic forestry on the way to a ceremony that celebrates his life achievements as a doctor. He travels with his daughter-in-law, picks up a young trio hitching their way to Italy, and briefly, an arguing couple who they were involved in a car accident with. He recalls past memories of his younger days, and has bad dreams. It plays out less like narrative fiction than a hodge-podge diary entry, things occurring spontaneously. This means no one mood is ever built upon in layers, rather it ebbs and flows almost without structure. There are themes of death hanging over the film, unanswered questions regarding God and science, bickering and co-operation between men and women, the contrast of expression between young and old, and an appreciation for the beauty of life and the honour of career based achievements, contrasted with incidents recalling great sadness, and a failure in personal relationships - from lost loves, cheating partners, and forgotten family. Although Isak appears quite endearing and the film takes a sympathetic viewpoint, he is nonetheless faulted for his past cold aloofness which caused the women to cheat, yet the women and the partners they took up with are also faulted for their lack of principal. And when Isak attempts a greater warmth towards his maid in the final scene, she rebuffs him, long set in her own manner. In this fashion Bergman veers away from giving cliché or easy answers, and manages to capture the complexities of human relationships.Aside from hints that Isak's remaining days are limited, there is not a great deal of tension in the film, meaning it is more poem than a blockbuster. Yet it manages to maintain interest due to the emotional sway, and all encompassing themes - which are ever present, yet never preached. It is a quest for meaning, where the filmmakers wish not to give the answer, but capture the journey - for which a road trip proves a suitable metaphoric vehicle. The freewheeling nature of it helps prevent the weighty themes from becoming too morbid, and feels just as though they would on any road trip spent staring out the window. Vivid and distant at the same time.

'Wild Strawberries' opens with an old man (Victor Sjöström, hitting the perfect tone throughout the film) and his surreal dream, in which he confronts a clock with no hands and a misplaced coffin with the reaching, gripping hands of a corpse. How we all long to remove the hands from the clock, but death will always reach for us; every day its fingers come closer, and it magnifies our past, our memories, our history.This is Bergman's most Surrealist film (there are shades of Buñuel, Deren and even Cocteau), and one of his most compassionate and warm -- if anyone tells you that Bergman is simply the harbinger of misery and existential dread, this is the film to prove them wrong. That's not to say that the film doesn't bear a wistful sadness at its core, as all Bergman films do, but his tenderness can be overlooked.A beautiful film, and a great Bergman starting point for those who don't feel ready to jump headfirst into the suffocating intensity of something like 'Cries and Whispers'.