February 11, 1963 — Ingmar Bergman’s Winter Light premieres in Sweden.
“Well, it was a difficult film, one of the hardest I’ve made so far. The audience has to work. It’s a progression from Through a Glass Darkly, and it in turn is carried forward to The Silence. The three stand together. My basic concern in making them was to dramatize the all-importance of communication, of the capacity for feeling. They are not concerned—as many critics have theorized—with God or His absence, but with the saving force of love. Most of the people in these three films are dead, completely dead. They don’t know how to love or to feel any emotions. They are lost because they can’t reach anyone outside of themselves.
“The man in Winter Light, the pastor, is nothing. He’s nearly dead, you understand. He’s almost completely cut off from everyone. The central character is the woman. She doesn’t believe in God, but she has strength; it’s the women who are strong. She can love. She can save with her love. Her problem is that she doesn’t know how to express this love. She’s ugly, clumsy. She smothers him, and he hates her for it and for her ugliness. But she finally learns how to love. Only at the end, when they’re in the empty church for the three o’clock service that has become perfectly meaningless for him, her prayer in a sense is answered: he responds to her love by going on with the service in that empty country church. It’s his own first step toward feeling, toward learning how to love. We’re not saved by God, but by love. That’s the most we can hope for.” — Ingmar Bergman, 1964
“I think I have made just one picture that I really like, and that is Winter Light. That is my only picture about which I feel that I have started here and ended there and that everything along the way has obeyed me. Everything is exactly as I wanted to have it, in every second of this picture. I couldn’t make this picture today; it’s impossible; but I saw it a few weeks ago together with a friend and I was very satisfied.” — Ingmar Bergman, 1972