Linbeymusol Wonderful character development!

AniInterview Sorry, this movie sucks

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Jenni Devyn Worth seeing just to witness how winsome it is.

AgentSniff Watching "The Girls" at film school it struck me how confused and disorganized this film is. There is nothing wrong with confusing the audience, something Davind Lynch has showed us over and over again, but in combination with this film lacking plot, the characters being 2 dimensional and lacking any sort of characteristics and the all out confused nature of the "narrative" this film comes of as little less than a drug fueled, surreal mess.Which is fine if the film is interesting. This film is not interesting. I have heard a lot of people calling it feminist. Maybe people call it that because the main characters are female and the director/writer is a woman. Well feminism is "the advocacy of women's rights on the grounds of political, social, and economic equality to men". In this aspect the film is not feminist as the women say they won't to break free, but in reality are quite dependent on the men. At the end one of the actresses say she wants a divorce but this does not come off as she does it to liberate herself and be equal to the men.

Martin Teller I had high hopes for this, featuring a trio of Bergman's greatest actresses (Bibi Andersson, Harriet Andersson, Gunnel Lindblom) in the leads and a pair of his greatest actors (Gunnar Bjornstrand, Erland Josephson) in supporting roles. Unfortunately, Mai Zetterling (whose LOVING COUPLES I somewhat enjoyed) goes way over-the-top with the experimental flourishes. The story involves a production of Aristophanes' classic sex satire "Lysistrata", with the play, reality, and fantasy bleeding into each other in a series of obvious juxtapositions, half-baked metaphors and heavy-handed social commentary. Subtlety is not to be found here, and the film's divebomb approach to the battle of the sexes is often grating and tedious. These actors are usually a joy to watch, and they give it their all, but they just can't overcome the material, which comes off as another naive product of 60's progressiveness. The heart's in the right place, but the execution is too irritating. Nice photography and a strong cast aren't enough.

peter-rinaldi I was prompted to write a little bit about this film because i think the other review on this page is absolutely ridiculous. And, as this is a rather obscure film, i didn't want that to be the only word on this great film.I just want to say that from the way this film tells it's story right on through the way it is performed and on to what it ultimately says not only HOLDS UP through time, it is most definitely relevant in today's gender climate. I was absolutely blown away by the ballsy film-making and the fearless way in which it presents its ideas. Very much ahead of it's time.Everyone should see this film, especially men. and of all men, especially men who think and write like the other reviewer on this page. SEE THIS MOVIE!

romdal The production year says it all. The movie is a marauding mess of politically correct leftwing feministic selfappreciating drivel, of a so heavyhanded symbolic variety that comes across as ridiculous today. Every scene has the purpose of shedding light on one of the burning issues of society, mainly the role of females in the working community, the role of women vs men, women as sex objects, consumerism, politics, war, etc. Every scene is commented upon by the inner dialogue of one of the main actresses, or by turning the scene into a surrealistic joke. I have no reminiscence of any plot, or who the main characters actually were. It is the sort of movie, where consumerism is mocked by having a couple make love in a furniture store sales window while the sales agent delivers his speech, or where a revealing interview of a stage actress turns into a fullblown striptease act, for "of course" the offensive gentlemen of the press is the equal to a raunchy club audience. Then we move swiftly on, as we need to see war erupt in a peaceful forest, we need to see multiple inflammatory feministic public speeches being drowned in the (male) blowing of cars horns or rioting crowds, and of course we need to see cinema newsreels of Stalin and all the other usual suspects. You get the idea. But all this does not matter at all. The movie is an unsurpassed piece of eyecandy for any (male) Ingmar Bergman aficionado. A movie boasting leads Bibi Andersson, Harriet Andersson and Gunnel Lindblom at the height of their beauty makes this reviewer surrender completely and just drivel – and also delight in watching them so generously use their acting skills in a movie I had never heard about before today. It is hard to believe how especially the face of Bibi Andersson owns the screen every single time she appears. The cinematography is gorgeously orchestrated bw, often revelling in an overexposed (?) dimensionless whitishness, and you just never grow tired of watching the performers. How absurd, that a movie made with so much consideration for the feministic agenda, tirelessly advocating that women should not be viewed as merely an object of desire, has nothing better to offer the 21st century viewer than a parade of stunningly beautiful babes. As mentioned, I am not complaining. I could rewatch it tomorrow.