But did the films need the lovemaking?
Liv Ullmann's relationship with Ingmar Bergman collapsed after only four years. Why did they keep making great movies together?
Everyone Else (Cinema Group) Nobody's Perfect (Lorber Films) It would be a stretch to call Everyone Else a postmodernist work, but it is hard to imagine its existence if postmodernism had not preceded it. The closing sequence does have a climactic tone, but in the main Ade strives, as do so many contemporary artists, to avoid the “arrangement” of life. She wants the story to seem as if it merely occurred and she happened to be around to observe it. Her film cannot have the beat and pleasure of structure that a Bergman film gives us: we get instead a newly empowered eavesdropping.