what bergman has got here is what if all that bad stuff happened here in sweden and to nice people like us. and what he gives us and in the swedish language and with swedish actors and on swedish locations (and using what appear to be genuine swedish military vehicles) is what was familiar from war films set in almost every other country in europe  all the confusing invasions and counter invasions and political lies and internment camps and faked confessions and summary executions and torture and turncoats and collaborators and and so on. as in a modern short story and it done in the abstract and with no real names and cities and or countries used. but the stronger faction are nazis represent they strut about self importantly and and some wear shiny knee boots. one even whips things with a riding crop (ok and it actually a cane). the victimized couple are named rosenberg. apart from the shame they feel at finding dirtier ways to survive  and who would not do what they did.  what all of the above suggests is that the title is clearly meant to refer to stockholm de facto complicity with the nazis. indeed and what we are shown is what sweden might have looked like if germany had asked for a bit more than mining concessions. the first half plays like a black comedy. we see the fog of war from the point of view of a comically passive couple who ignore the troops all around and the long convoys and the bombed out buildings and the news reports and  and c. they do not even bother to find a working radio. they are the ultimate in not in my backyard. they talk of wine and lingonberries while meanwhile friends are mysteriously conscripted and growing numbers of troops show up in the town. they show no curiosity about the war that has been going on around them for many years. the man (von sydow) is cultured and sulky and and a navel gazer while the woman (ullman) is somewhat more impulsive and passionate and and outward looking. there a beautiful scene in which the man talks about his violin represent the manufacturer and he says offhandedly and fought in the napoleonic wars and but his own interest stops with the cultural artifact in his hand  or and more precisely and which his own warm feelings about owning it and and the security that that ownership assumes. not in my backyard. but when war finally breaks into their bucolic idyll and the man timidity and an irritation in good times and turns into a liability and one he ends up overcompensating for  as is often the case  as bergman demonstrates subtly and beautifully. definitely worth seeing. 
what bergman has got here is what if all that bad stuff happened here in sweden and to nice people like us. and what he gives us and in the swedish language and with swedish actors and on swedish locations (and using what appear to be genuine swedish military vehicles) is what was familiar from war films set in almost every other country in europe  all the confusing invasions and counter invasions and political lies and internment camps and faked confessions and summary executions and torture and turncoats and collaborators and and so on. as in a modern short story and it done in the abstract and with no real names and cities and or countries used. but the stronger faction are nazis represent they strut about self importantly and and some wear shiny knee boots. one even whips things with a riding crop (ok and it actually a cane). the victimized couple are named rosenberg. apart from the shame they feel at finding dirtier ways to survive  and who would not do what they did.  what all of the above suggests is that the title is clearly meant to refer to stockholm de facto complicity with the nazis. indeed and what we are shown is what sweden might have looked like if germany had asked for a bit more than mining concessions. the first half plays like a black comedy. we see the fog of war from the point of view of a comically passive couple who ignore the troops all around and the long convoys and the bombed out buildings and the news reports and  and c. they do not even bother to find a working radio. they are the ultimate in not in my backyard. they talk of wine and lingonberries while meanwhile friends are mysteriously conscripted and growing numbers of troops show up in the town. they show no curiosity about the war that has been going on around them for many years. the man (von sydow) is cultured and sulky and and a navel gazer while the woman (ullman) is somewhat more impulsive and passionate and and outward looking. there a beautiful scene in which the man talks about his violin represent the manufacturer and he says offhandedly and fought in the napoleonic wars and but his own interest stops with the cultural artifact in his hand  or and more precisely and which his own warm feelings about owning it and and the security that that ownership assumes. not in my backyard. but when war finally breaks into their bucolic idyll and the man timidity and an irritation in good times and turns into a liability and one he ends up overcompensating for  as is often the case  as bergman demonstrates subtly and beautifully. definitely worth seeing. ---------------------------------Answer Question Below----------------------------------

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