“It’s tempting to read the bishop’s cold quarters and the Ekdahls’ happy home as two sides of Bergman’s soul vying for custody of his alter-ego, Alexander. The final reels upend Strindberg’s ‘flimsy framework of reality,’ slipping into surreal sleight of hand as this battle of love and libertinism versus religious self-abnegation wakes the ghosts. They’ve been waiting.” – Crooked Marquee, 12/16/2022