Most critics respond strongly to Bergman’s study of estrangement, repression and mortality, finding its emotional force disturbing but often moving. Praise centres on the dominant red interiors and the cinematography, which make the sisters’ suffering and failed attempts at intimacy feel oppressive and immediate. The reviews also value the contrast between familial bitterness and Anna’s compassion, while the four lead performances draw praise for giving the anguish a recognisable human weight.
The spread is wide despite nine of the ten reviews being positive, with disagreement turning chiefly on whether the imagery deepens the drama or overwhelms it. Time Out admires the visual appeal but finds that form sometimes overshadows content. Slant Magazine supplies the lone negative assessment, arguing that the red symbolism and religious suffering lack depth and that the craftsmanship becomes manipulative; most critics instead find the film’s emotional impact persuasive.