Ullman isn't particularly interested in the angst of human interaction or the difficulty of knowing truth; she seems fascinated by the pathos of feelings that are all the more intense for being of questionable integrity.

Each sequence is introduced by an intertitle suggesting it will contain an isolated conversation, an archly inaccurate notion that deepens the drama by appearing to deny its complexity.

Ullmann handles the rich material with simplicity and feeling, using snatches of classical music only sparingly and concentrating on the faces of her exemplary cast.

Coming from the master's hand, the result is unique, akin to a deep plunge into a northern lake -- there's a chilling clarity to the experience, a harsh beauty that's softened, yet never redeemed, by unexpected pockets of relative warmth.