Cries and Whispers stars Liv Ullman and Ingrid Thulin as the sisters of dying cancer patient Harriet Andersson. Both sisters have already had brushes with death: Ullman has had an affair which prompted her husband's suicide, while Thulin has long wanted to do away with herself, at one point mutilating her own vagina out of self-hatred. As for Andersson, she has been in pain so long that she feels as though she's in the midst of death-in-life. With her two sisters wrapped up in their own problems, Harriet turns to her housekeeper Kari Sylwan for comfort; Sylwan has herself suffered the death of a child, and has developed a philosophical attitude towards impending doom. One of the most influential moments of the film — when two of the sisters share the innermost thoughts that they'd kept from one another for so many years — is filmed without benefit of dialogue, with the music of Chopin (enhanced by cinematographer Sven Nykvist's carefully selected camera angles) "speaking" for the ladies. While Cries and Whispers only won the Oscar for cinematography, the film did very well for itself in international awards contests. — Hal Erickson

Criterion: This existential wail of a drama from Ingmar Bergman concerns two sisters, Karin (Ingrid Thulin) and Maria (Liv Ullmann), keeping vigil for a third, Agnes (Harriet Andersson), who is dying of cancer and can find solace only in the arms of a beatific nurse (Kari Sylwan). An intensely felt film that may be Bergman’s most striking formal experiment, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death, positioned on the borders between reality and nightmare, tranquillity and terror.

AMG Review: Ingmar Bergman's Cries and Whispers (Viskningar Och Rop) finds the director exploring many of the same themes as his landmark Persona (1966). A study of three sisters and the "tissue of lies" between them, the film once again measures the tremors caused by long-buried secrets, dreams, and resentments. Not one gesture rings false, particularly in the distant-but-sympathetic performance of Bergman's longtime collaborator (and companion) Liv Ullmann, cast against type as the acidic Maria. Though obviously influenced by Chekhov and Tolstoy, Bergman makes the material his own, disrupting the script's Gothic facade with shocking, distinctly modern feelings and incidents: despite the Freudian and Jungian interpretations that can be made of individual scenes, Cries never substitutes abstract theory for character development. Cinematographer Sven Nykvist keeps the proceedings from becoming an inert chamber play; his expressionistic use of color — punctuated by the fades to red between sequences — is unlike anything previously seen in Bergman's work. Cries and Whispers became one of the only foreign-language films ever nominated for an Oscar as Best Picture, and Bergman received his first nomination as Best Director, cementing (if tardily) his status as the leading foreign art-movie director. — Michael Hastings