This time around (unlike Sven Nykvist's perfect work on 'Marriage', a kind of pre-Dogma 95 style to use the camera with the story), Bergman decided to make the film for television (his on occasion work aside from theatre for the past twenty years since Fanny and Alexander) and also decided to implement digital photography. There is something of note that revealed to one how the actual cinematography can evolve properly or at least in a fashion that is not off-putting. But it is of interest if only for curiosity sake. It may be too easy to compare and contrast this film and the series. As with the majority of his works, he finds two key assets that work to his advantage behind his own personal attachment to the project- the camera/lighting, and the cast. This time two other characters in the film, new ones, become the centerpiece of the story. He's out to bring some closure to their relationship, however not entirely based on nostalgia. Bergman brings back two actors/friends he's worked with numerous times, Liv Ullmann and Erland Josephson, and uses their characters from his film/TV series Scenes from a Marriage for a higher purpose than to rake in the bucks. But it is the kind of sequel that bears significance. It's a sequel, which could have been thwarting (why go back and do the same thing over again, one could ask). With Saraband, writer/filmmaker Ingmar Bergman closes the book, so to speak, on his life's work.
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