“I’m just a radar device that registers objects and phenomena and returns these objects and phenomena in reflected form mixed with memories, dreams and fantasies,” said the famous Swedish theater and film director Ingmar Bergman in one of his few interviews. “I don’t allow to force oneself in one direction or another. My basic views are to have no views at all.” There is some slyness in these words: Bergman’s films are a study of one or another aspect of human society, ideological doctrine, relationships between people. Suffice it to recall his most striking films - “The Snake’s Egg” and “Shame” (anatomy of fascism), “The Seventh Seal” and “Evening of Fools” (the fate of the “little man”), “Persona”, “Hour of the Wolf” (the artist’s lot), “Strawberry Field”, “Autumn Sonata” (the price of love), “Communion” (denial of God). This memoir of prose includes his two autobiographical books - “Laterna Magica” and “Pictures”, which confirm that Bergman is not a “ghostly figure , incapable of either love or warmth,” but a powerful artist who created masterpieces that are included in the golden fund of world cinema.