Bergman's rather unique work, without its own staid to the point of being old-fashioned audiovisual language, the camera has become more flexible with the addition of English monologues rather a shift towards westernized directing (of course, Married Life breaks this doubt)
The plot is quite tight but drags a bit, and the information is very sketchy (as he always is), the worst part is the sex scene with David, which is quite breathless and disgusting, and can be called Bergman's last male explosion in his middle age.
Compared to its own rules and regulations of the audiovisual, this THE TOUCH in the flexible lens seems to give Bergman more emotional space to narrate a love story, but at its root that kind of drama does not fit the attributes and a dad taste of strong patriarchal color, it is also very difficult to let a person empathy.
The plot is quite tight but drags a bit, and the information is very sketchy (as he always is), the worst part is the sex scene with David, which is quite breathless and disgusting, and can be called Bergman's last male explosion in his middle age.
Compared to its own rules and regulations of the audiovisual, this THE TOUCH in the flexible lens seems to give Bergman more emotional space to narrate a love story, but at its root that kind of drama does not fit the attributes and a dad taste of strong patriarchal color, it is also very difficult to let a person empathy.