Dinner
Bergman films Katarina and Johan on one side of a cut, and Peter and Marianne on the other. As the argument between Katarina and Peter gets heated, Bergman chooses to shoot everyone in a close-up. The imagery reveals how personal things are getting when and this is why Bergman chooses to go close on the characters, to reveal their emotional fervency coming out.
Blood in the Water
Bergman composes a simple scene between Johan and Marianne in their kitchen after dinner with Peter and Katarina. They speak of their great marriage, but Bergman uses the color red on the backsplash and as the color of the lampshade over the table. The imagery reveals that underneath their perfect image of marriage lies in waiting great pain from things unsaid between them.
Interiors
Bergman takes Johan, Marianne, Peter, and Katarina from dining room to living room to kitchen. The imagery reveals that Bergman is taking us further inside the characters. With each scene, we see more and more revealed as they move through the rooms as if moving to interior parts of themselves.
Bottled Up
Marianne speaks with a client who is seeking a divorce from her husband. Bergman moves the camera to the woman's hands when she is speaking of how bottled up her love has been during her marriage. We see her hands revealing this bottled nature and her attempt to break free by separating her hands. Bergman shows us how our emotions are exemplified in our gestures, none more than in our hands.
