How did Bergman come to his "directorial cinema"? In the first meeting of the cycle, the film "The Prison" will be analyzed - an early, bold, and dark work where his main themes are already audible. There will be a discussion about fear and faith, the director's scandalous reputation, and how a simple plot turns into a disturbing moral experiment. The name of Ingmar Bergman has long become a password for all who love cinema that asks uncomfortable questions. His films argue with the viewer, test their courage, and leave an aftertaste that does not disappear after the final credits. As part of the film club, the first meeting of the cycle about the director will take place - starting with the film "The Prison". The film was released in 1949 and is considered Bergman's first truly authorial work. It already shows the future pillars of his language: the conflict of inner freedom and prohibitions, the feeling of guilt, the discussion of the boundaries of good and evil, the tension between faith and fear. The lecture will analyze what exactly makes the early film a self-sufficient statement, how the dramaturgy and rhythm are structured, which scenes work as meaningful nodes, and which act as traps for the viewer. They will also talk about why Bergman's name in the 20th century sounded like a sign of "high culture". He could be disliked, misunderstood, or acquaintance could be postponed, but it was hard to remain indifferent. They will discuss how the cult around the son of a Protestant pastor was formed, what was sincere in this cult, what was a habit of being "in the know", and why Scandinavian coldness often rhymes with human pain. A separate block will be dedicated to the era of directorial cinema of the 50s to 70s and the bourgeois audience's reaction to new, sharp intonations. You will see how the status of the director changed, why the personal view became more valuable than genre rules, and how "The Prison" opens the door to a big conversation about Bergman as a phenomenon of the time. The lecturer Alexander Kashenko is a documentary filmmaker and art historian. He will help to watch carefully: by frame, by light, by pauses, by the questions that the film leaves unanswered. The meeting will be suitable for those who want to learn.