It was in 2015 that I received my first invitation to the Venice Film Festival from Peter Cowie, the venerable scholar and critic. His new book, God and the Devil: The Life And Work of Ingmar Bergman, is a crowning achievement in Bergman studies, a career highlight from a master who hasn’t lost a step over a career that spans over half a century. It felt like a fortuitous invitation; my mother, who had always wished for me a trip to Italy, died earlier in the year. The 2015 Biennale was my first time out, and I felt her presence over my shoulder as I took in the wonders of Venice. And I’ve been coming back ever since, not counting of course the Covid Break Year of 2020. My mission, along
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