Early on in Ingmar Bergman’s 1968 film Hour of the Wolf, painter Johan Borg (Max von Sydow) urges his pregnant wife, Alma (Liv Ullmann), to pose for him so that he can sketch her. He instructs her on how she should sit, how to arrange the robe she’s wearing, what to do with her hair. “If I patiently drew you, day after day…” he says as the scene fades to black. The artist and his muse — but their roles undergo something like a reversal once Johan vanishes and Alma is left to try to make sense of what happened, to share her perspective on the man with whom she lived for seven years. Perhaps she didn’t know him as well as she thought; perhaps, in a strange sense, she knew him too well.