Gertrud

If anyone tried to say that Carl Theodor Dreyer’s final film wasn’t heavily inspired by Ingmar Bergman’s 50s and early 60s output, I would call that person a dirty liar. This movie is infused with a Bergmanesque sensibility and would have felt right at home in Bergman’s body of work in the late 50s. I don’t know if it was intentional homage, if Dreyer just absorbed so much of Bergman’s work in the decade after he finished Ordet that it seeped into his basic approach to filmmaking, or if it w...