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Цветения пора1995 · Director
Человек на крыше1976 · Director
Эльвира Мадиган1967 · Director
Mannen från Mallorca1984 · Director
Одален 311969 · Director
Вороний квартал1963 · Director
Joe Hill1971 · Director
Barnvagnen1963 · Director
Kärlek 651965 · Director
Ormens väg på hälleberget1986 · Director
Fimpen1974 · Director
Heja Roland!1966 · Director
Den vita sporten1968 · Director
Victoria1979 · Director
Pojken och draken1962 · Director
Alla är äldre än jag2012 · Himself (archive footage)
A Mother with Two Children Expecting Her Third1970 · Director
Liv till varje pris1998 · Фильм
En handelsresandes död1979 · Director
Отец1988 · Director
Vildanden1989 · Director
I huvudet på Bo2025 · Self (archive footage)
Guldbaggegalan1981 · Self - Best Director winner
Hebriana1990 · Director
Mikael Wiehe: Tre nya och en som lever kvar1989 · Director
Dansen kring Guldbaggen1964 · Self
Carl-Gustaf Lindstedt 70 år1991 · Self
En handelsresandes födelse1979 · Фильм
Bo Widerberg regisserar2015 · Фильм
Bo Widerberg1977 · Фильм

Bo Widerberg
波·维德伯格
Биография
Bo Widerberg, (June 8, 1930 – May 1, 1997) was a Swedish film director, writer, editor and actor. He was born Bo Gunnar Widerberg in Malmö, Skåne län, Sweden. He died in Ängelholm, Skåne län, Sweden of stomach cancer. Widerberg was the director of films such as Raven's End (1963), Elvira Madigan (1967), Ådalen 31 (1969), Joe Hill (1971), Fimpen (1974), The Man on the Roof (1976), Victoria (1979), The Man from Majorca (1984), The Serpent's Way (1986) and All Things Fair (1995). He won a Silver Bear prize in Berlin for All things fair and a Special Grand Jury Prize at Cannes Festival for Ådalen 31. Raven's End, Ådalen 31 and All things fair all received a Best Foreign Language Film Oscar Nomination Bo Widerberg's vision of Swedish cinema parted radically with its contemporary form. He called for a greater political significance and more progressive story telling. Bergman being the leading figure of Swedish cinema, was not his ideal at all, although he recognized his position: "Nor me or my friends saw very much in him. We didn't find the issue of god's existence that damn important. But it's safe to say you'd be putting yourself in a bad position if you're trying to slit the throat of the father figure before your own debut." In his book A vision of Swedish cinema he concluded that Ingmar Bergman's films almost exclusively dealt with issues directed upwards, but more seldom in sideways, between people. According to Widerberg, Bergman made vertical films when the need for horizontal ones was most dire. On the other hand, Widerberg wanted film to be a tool of the social sciences, a kind of sociological report. Description above from the Wikipedia article Bo Widerberg, licensed under CC-BY-SA, full list of contributors on Wikipedia. Фильмография и роли (30)

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