Awarded the 2001 Festival Prize at the International Short film Festival Oberhausen, Germany.

In Hello Ingmar a woman who may or may not be Gunilla Josephson, plunders through the films of Ingmar Bergman, who may or may not be her father, in search of the moment when she appeared, or did not appear, in one of Bergman's films.
Hello Ingmar opens with the words ‘Ingmar Bergman is my father....’ What follows this outrageous declaration is a reconstructed narrative, stitched together with fragments from various Ingmar Bergman films and original footage shot in the ‘Bergmanesque’ style.

The film is a ‘perceptual autobiography’, which weaves together fact and fiction to create a meta-narrative. Authenticity, documentary, narrative, biography, are all questioned through another telling.
Hello Ingmar presents itself as autobiography, as documentary, as true/not true, but in its deliberate confusions of fiction and fact calls into question our definitions of both those properties. Humorous, outrageous, factual, or a complete lie, the film is a perceptual recounting of experience, in which history is the result not of facts, but of perceptions.