Three Films by Mai Zetterling (1964-1968)

[Scottie]

Loving Couples (1964)

The title of Mai Zetterling’s boldly iconoclastic debut feature—adapted from a cycle of seven novels by the provocative feminist writer Agnes von Krusenstjerna—drips with irony. In 1915, three pregnant women from varying social backgrounds (Harriet Andersson, Gunnel Lindblom, and Gio Petré) enter a maternity ward. Cue a swirl of perspective-shifting flashbacks that, with searing psychological insight, illuminate the divergent yet interconnected experiences that brought them there—and that came to a head during one lavish, debauched Midsommar celebration. Wildly subversive in its treatment of sexuality, gender, class, religion, marriage, and motherhood, Loving Couples is as electrifying a first feature as any in cinema history, announcing the arrival of an uncompromising artist in pursuit of raw emotional truth.

Night Games (1966)

Outrageous and explosively controversial (the Venice Film Festival refused to screen it publicly, while John Waters has called it his favorite film), Mai Zetterling’s second feature is a blazing psychosexual odyssey with heaving Freudian flourishes. On the eve of his marriage to his fiancée (Lena Brundin), Jan (Keve Hjelm) returns to his childhood home—a sprawling estate stuffed with antiques—where he relives his memories of his beautiful, decadent, mercurial mother (Ingrid Thulin) and finds himself forced to confront his unresolved Oedipal longings. Seamlessly interweaving past and present, carnivalesque camp and potent symbolism, Night Games functions as both a feverishly perverse family portrait and a serious statement on the tormented soul of a modern Europe reckoning with the demons of its past.

The Girls (1968)

Mai Zetterling’s cinema reached new heights of exuberant experimentation and fierce political engagement with this pointed and playful touchstone of 1960s feminist cinema. As they tour Sweden in a theatrical production of Lysistrata, performing to often uncomprehending audiences, three women (national cinema icons Bibi Andersson, Harriet Andersson, and Gunnel Lindblom) find their own lives and marriages mirrored in the complex, combative gender relations at the heart of Aristophanes’s play. Onstage drama, offstage reality, and a torrent of surrealist fantasies and daydreams collide in The Girls, a slashing, sardonic reflection on the myriad challenges confronting women on their path to liberation, and on the struggles of the female artist fighting to make her voice heard over the patriarchal din.

Special Features

• New 2K digital restorations, with uncompressed monaural soundtracks
• New interview with author Alicia Malone
• Maybe I Really Am a Sorceress, a 1989 documentary on director Mai Zetterling, featuring interviews with Zetterling; her coscreenwriter, David Hughes; and actors Harriet Andersson, Ingrid Thulin, Bibi Andersson, and Gunnel Lindblom
• Lines from the Heart, a 1996 documentary reuniting The Girls actors Harriet Andersson, Bibi Andersson, and Lindblom
• Interview with Zetterling from 1984 on Loving Couples and The Girls
• Swedish television footage from 1966, filmed on location during the production of Night Games and at the film’s premiere
• New English subtitle translations
• PLUS: An essay by film scholar Mariah Larsson

[bergman864]

Glad to see Lines from the Heart included.

[Aunt Peg]

These are must buys for me. I have all of them on DVD but really looking forward to the upgrade to Blu Ray.

[trobrianders]

A pity Music in Darkness didn't feature in Ingmar Bergman’s Cinema

[Axl Rose]

This just comes in a 3 disc case which is pretty lame.

[Rayjg]

Saw this perusing the Criterion section at B&N and went WTF is this? Back of the case doesn't tell you much about the films but now I'm curious...

[JulesAndJim]

This is one of my favorite recent Criterion releases. I had never heard of Zetterling before the set was announced, watched all three on Criterion Channel, and immediately resolved to buy the set the next sale (which was the flash sale). The films aren't easy for me to describe, but they're kind of like 1960s Fellini, except darker and with more pointed social criticism.

[Snicket]

Originally Posted by Rayjg

Saw this perusing the Criterion section at B&N and went WTF is this? Back of the case doesn't tell you much about the films but now I'm curious...

The back of the case was enough to sell me. ¯\_(ツ)_/¯