Synopsis
When disillusioned Swedish knight Antonius Block returns home from the Crusades to find his country in the grips of the Black Death, he challenges Death to a chess match for his life. Tormented by the belief that God does not exist, Block sets off on a journey, meeting up with traveling players Jof and his wife, Mia, and becoming determined to evade Death long enough to commit one redemptive act while he still lives.
Votre Filmothèque
Cast
- Max von SydowAntonius Block
- Bengt EkerotDeath
- Gunnar BjörnstrandJöns
- Nils PoppeJof
- Bibi AnderssonMia
- Inga LandgréKarin
- Åke FridellPlog
- Inga GillLisa
- Maud HanssonWitch
- Gunnel LindblomMute Girl
- 100
Chicago Sun-Times
The directness of The Seventh Seal is its strength: This is an uncompromising film, regarding good and evil with the same simplicity and faith as its hero. - 100
The Guardian
Ingmar Bergman's dark masterpiece effortlessly sees off the revisionists and the satirists; it is a radical work of art that reaches back to scripture, to Cervantes and to Shakespeare to create a new dramatic idiom of its own. - 100
The New York Times
A piercing and powerful contemplation of the passage of man upon this earth. Essentially intellectual, yet emotionally stimulating, too, it is as tough—and rewarding—a screen challenge as the moviegoer has had to face this year. - 100
Empire
Dark but beautiful. - 100
BBC
Full of haunting, iconic images and a touch of hopeful humanity, The Seventh Seal is cinema at its most artful, a philosophical meditation on the meaning(lessness) of this mortal coil. - 100
Time Out
Prepare to fawn at Bergman’s most metaphysically profound film; you may even laugh. - 100
TV Guide Magazine
What's most important here is that THE SEVENTH SEAL, for all its downbeat aspects, is so gripping as to be entertaining in an enlightening way. Less austere and more visually striking than some of Bergman's later films. - 91
The A.V. Club
There’s a lot going on in Ingmar Bergman’s The Seventh Seal, with its striking imagery, bawdy humor, and grim suffering; it’s a humane film about the inhumane inevitability of death. I’m still not much of a cinephile (this is my second Bergman film, and I only watched The Virgin Spring so I could compare it in an essay to The Last House On The Left), but I’m coming to realize that the difference between a good movie and a great one are those moments of intense personal connection where it seems like the filmmaker is reaching out to you through the screen and whispering (or yelling, or cajoling, or demanding, or pleading) in your ear. As if there is no real distance between you and the director, time has changed nothing, and the moment remains as pure as it was on the day it was filmed.
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