Ingmar Bergman’s 1955 film KVINNODRÖM, known in English-speaking areas as "Dreams," presents two storylines that explore women confronting their desires for love and romance, only to experience disappointment. Susanne (Eva Dahlbeck) manages a fashion model agency in Stockholm but finds her work overshadowed by an obsession with a married man (Ulf Palme), someone she previously had an affair with. Despite the relationship’s end, Susanne continues to follow him. Simultaneously, one of her models, Doris (Harriet Andersson), is manipulated by a wealthy older man (Gunnar Björnstrand) who exploits her fondness for luxury items like expensive clothing and jewelry. The 1950s marked a period of remarkable achievement for Ingmar Bergman as he gained recognition as a leading filmmaker. Although this 1955 film appeared during a time that included acclaimed works such as "Summer with Monika," "Sawdust and Tinsel," and "The Seventh Seal,” it hasn't been regarded as one of his stronger films, nor has there been much effort to elevate it to the status of a rediscovered masterpiece like some other less familiar pieces from this era. The narrative revisits themes that had already proven valuable. I must admit I was initially let down by the film’s opening moments, which descend into melodrama when Susanne dwells on her feelings while traveling by train and contemplates suicide. The movie utilizes a straightforward, realistic style of cinematography and lacks the striking visual elements Bergman would later become known for. Despite this, the film remains worthwhile for those familiar with Bergman's work due to the performances he draws from his actors. While Dahlbeck didn’t particularly impress me, Ulf Palme generates both sympathy and revulsion as the henpecked husband involved in Susanne’s affair. Inga Landgré is memorable in a brief but pivotal role as the man’s wife, delivering impactful lines with remarkable composure. However, Andersson and Björnstrand are truly the film's standouts. Harriet Andersson was often seen as a captivating figure, frequently cast in roles that highlighted this quality; however, here her portrayal of Doris is fully realized as a distinct character, differing from her previous appearances in Bergman’s films. She effectively conveys much of the story through subtle facial expressions alone. Björnstrand delivers a charming and dignified performance as the older man, gradually revealing vulnerabilities as their relationship proves to be ill-advised.

Source on TMDB