Time and again, Bergman challenges our sense of both individual and collective identity (who are we and how do we live with others?) — ethical, political, and social considerations every bit as relevant to the current climate, modernist or otherwise, as any moment previously.
FilmReference.com has a lengthy list of resources and says,
His reputation can be traced to such diverse factors as his prolific output of largely notable work (40 features from 1946–82); the profoundly personal nature of his best films since the 1950s; the innovative nature of his technique combined with its essential simplicity, even when employing surrealistic and dream-like treatments (as, for example, in Wild Strawberries and Persona); his creative sensitivity in relation to his players; and his extraordinary capacity to evoke distinguished acting from his regular interpreters, notably Gunnar Björnstrand, Max von Sydow, Bibi Andersson, Ingrid Thulin, and Liv Ullmann.
I have blog posts on the following of Bergman's films:
Summer Interlude (1951)
Smiles of a Summer Night (1955)
The Seventh Seal (1957)
Wild Strawberries (1957)
Brink of Life (1958)
The Virgin Spring (1960)
Through a Glass Darkly (1961)
Winter Light (1962)
The Silence (1963)
Cries and Whispers (1972)
The Serpent's Egg (1977)