The White Wall
Not yet rated
Time Out saysGiven that its central performance by Harriet Andersson is technically perfect, this study of female frustration displays hardly any other redeeming features. Settling for a one-track, frankly boring delineation of the tribulations of a newly-separated woman of 35, it progresses (infinitely slowly) by means of a line of clichéd encounters with representative boorish males and sympathetic girlfriend towards a cop-out fadeout that is the ultimate in arty pretentiousness. Throughout, the film treats Andersson's character as a 'specimen' under glass, even going so far as to parallel her situation with that of her son's goldfish. A sign of Björkman's inability to think his subject through is that he has to despatch the young son from the narrative halfway through; while his oblique references to Bergman merely highlight the emptiness of his own concept.