Most people would probably steer clear of family birthday parties if they could, but "Alexander" (Erland Josephson) decides to gather his relatives at his house by the sea for a meal. He’s an actor who considers himself a somewhat disillusioned thinker longing for a more respectable era – though it's questionable whether that time ever truly existed. Predictably, the gathering quickly descends into familiar family disagreements, and just when things become unbearably uncomfortable, the house begins to shake and loud noises from planes overhead can be heard. When they turn on the television, news reports announce the start of a nuclear war before the screen goes dark. Now cut off from electricity and any information about what's happening outside, their frustrations and anxieties intensify, pushing "Alexander" to his knees in prayer. He pledges everything he owns and is – if only his family can be protected from the worst that’s coming. It’s at this point that we meet the mysterious "Otto" (Allan Edwall), who suggests that a solution might lie with him, but first, he must visit—and perhaps appease—the reclusive "Maria." Who exactly is she and what influence could she possibly have on stopping this disastrous chain of events? The film shares several characteristics with an Ingmar Bergman movie: the dysfunctional family relationships, the visual style, and a deliberate slowness to the story’s unfolding. However, it doesn't feel quite as rapid-paced. What makes it worthwhile is Josephson’s compelling performance; he portrays a character who sometimes seems detached from reality but also possesses a profound spirituality. Despite his lack of affection for his children, he's willing to sacrifice anything to ensure their safety. There’s enough dialogue to get the point across, and the camera work carries much of the weight, accompanied by beautiful music from J.S. Bach. It’s a film that challenges your mind. Nothing is explicitly explained; viewers can dismiss it as empty symbolism or consider how they might respond to an impending disaster and what compromises they might make with God—or anyone else—to avoid catastrophe. Susan Fleetwood delivers a strong performance as "Adelaide," another woman who isn't entirely grounded in reality, and the activity happening downstairs provides some welcome distraction from the main plot’s intensity, all while taking a relaxed 2½ hours to contemplate what we might choose to think about with Armageddon looming. This is a film best experienced on a large screen—not only for the visuals but also to help maintain focus, which can be difficult at times.

Source on TMDB