The sisters Ester (Ingrid Thulin) and Anna (Gunnel Lindblom), accompanied by Anna's young son Johan (Jörgen Lindstrom), find themselves traveling through an unnamed country, yet their relationship seems strained; there’s a clear lack of warmth between them. Ester, despite being a linguist, struggles with the local language and often relies on gestures to communicate. Anna employs different approaches to get her point across, which only serves to frustrate her sister, who wishes she could be as forthcoming but lacks the ability or self-assurance to express herself openly. When Anna begins a relationship with a bartender (Birger Malmsten), she flaunts it in front of Ester, deepening the rift between them. Meanwhile, Johan entertains himself wandering the hotel’s empty hallways, finding companionship primarily with the steward (Håkan Jahnberg), who shares stories and pictures from his own life experiences. The film's title is fitting, as dialogue is sparse throughout this somber exploration of how communication—or its absence—can affect people's mental states. Johan offers a glimmer of hope, representing innocence and a touch of brightness while attempting to bridge the gap between two women he loves in different ways, within an increasingly confined setting. The film conveys a sense of emotional emptiness; even the intimate scenes lack tenderness or affection. As I considered what was coming for these characters toward the end, a question about Johan arose. While I couldn’t determine whether divine intervention played a role, I found the portrayal of these contrasting female personalities to be somewhat symbolic and relevant to contemporary audiences, illustrating a society that has lost the ability to connect meaningfully with others on a personal level. The looming sense of isolation felt as bleak as anything Bergman created decades ago. It's not an uplifting film, and there’s no resolution offered, but it is strangely impactful and deserving of viewing.

Source on TMDB