From KCRW Santa Monica and KCRW.com, it's The Treatment.

Welcome to the Treatment, the Home Edition. I'm Elvis Mitchell. I am pleased to be joined today by a filmmaker who has a really interesting

gift for creating the tensions and intimacy. Her newest film as writer-director is Bergman Island.

I'm talking to Mia Hansen Love Mia. It's so good to have you on the show. Thank you so much for doing

this. Well, thank you. One of the things I really loved about the movie, which becomes this

kind of metaphor, is a scene where I guess Ricky Krepsling, Chris is going, she has this long

search for the house used and through a glass darkly, and I won't give away the ending because it's

just too sweet. But that, for me, is almost the center of the movie. It's kind of what the movie

is about in a lot of ways, isn't it?

I guess so.

But something that I'm sure about is that the film is a quest, like all my films are.

In this film, we see people looking for Bergman and Bergman's heritage in a way,

and that's something that's impossible to capture.

But of course, it's not only about that,

it's also about a much more intimate quest.

They're both trying to write their own stories,

and through that, they're both trying to find their own stories and through that they're both trying to find themselves.

That scene for me where it's she's searching for this thing and she can't quite get through the people and there's no,

and the movie's been really sunny up until that point and suddenly there's no sun around.

Yes.

And then shortly after that, the whole other story begins in the movie, just this quest

to figure out what is you're trying to do. And it's really not a movie about movie making.

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