Dark memories in the provincial worlds of Ingmar Bergman’s Fanny and Alexander and Federico Fellini’s Amarcord
This article about Federico Fellini’s Amarcord (1973) and Ingmar Bergman’s Fanny and Alexander (1982) concerns one aspect of the directors’ childhood memories, namely how authoritarian institutions are used to disrupt otherwise fairly idyllic and nostalgic lives and worlds. The films blend detailed memories with playful fantasies, combine experiences of the directors’ alter ego Titta and Alexander
