The cliché of an Ingmar Bergman film seems to be that of a melancholy, existentialist treatise on the meaninglessness of life and of relationships, most likely in black and white. You know the kind of thing: people standing at the beach, being depressed. I’ve said so before, but that’s not the Bergman I’ve found, even in films such as The Seventh Seal, and most definitely not in Fanny and Alexander (both of these are yet to come in our journey through Criterion’s amazing box set Ingmar Bergman’s Cinema). Look at something like Scenes from a Marriage and alongside the acrimony, emotional cruelty and existential despair that doubtlessly fuel the conflict between Marianne and Johan, you’ll definitely also find warmth, humaneness and humour.

I rather wish there had been more of the latter in Shame, a film that, while recognisably Bergman in its concerns – and obviously in its cast -, reminded me of Michael Haneke in its relentless grimness. It is perhaps telling that one of the rare scenes where the film displays a sense of humour shows one of its characters to be such a bad shot that he fails to kill a chicken that’s barely half a metre in front of him.

By the end of the film, the chickens have lost their lives nonetheless and that character has become both able and more than willing to use his gun on a human being.