För att inte tala om alla dessa kvinnor (1964)

English titles: All These Women; Now About These Women.

A critic is writing the biography of a cellist, and spends some time in his house. In there he gets acquainted with several women who have some kind of relationship with the musician.

This arguably should give a famous author of comedies some comfort for his alleged frustration at not being able to be convincing as an author of grave dramas. Because in this film his artistic idol proves that he in turn is not capable of comedic lightness.
The film works mainly as a libel against critics, from the point of view of artists. The film implies that critics are parasites. The contempt and hatred held by the author toward the central character is so strong that he refuses to give the film its correct title, which should be something like Now About This Critic.
The author's central thesis -- the distinction between artist and critic -- is built from images that ridicule the critic at the utmost. He does not once show the musician. Perhaps he is afraid of tainting the image of purity that he associates with him (and perhaps with Music as an art). He builds that ideal image by avoiding any real image.
The film is a denial (which, like all denials, when duly analyzed is actually an affirmation) of the ambiguous relationship between an artist and his audience (and a critic may be seen as a representative of that audience). It is a love-hate relationship. The artist cannot exist without his audience, but he somehow wished he could.
The film chooses the vantage point of the artist; when it allows the critic to expose his, it does so in a satirical way. Aesthetically, this bigoted worldview translates into dull and awkward comedy, made marginally interesting by its agreeable production design and the correct performances by its actors.

Rating: 32