1966 Directed by Ingmar Bergman
A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth's persona.
性格, 人物, Kinematografi, Έρωτες Χωρίς Φραγμό, Erotes horis fragmo, Persona - naisen naamio, 페르소나, Персона, Şəxsiyyət Maskası, 假面, פרסונה, Maske, Περσόνα, Persona: Quando Duas Mulheres Pecam, Naisen naamio - Persona, Persona - sonate for to, 仮面/ペルソナ, پرسونا
Humanity and the world around us Moving relationship stories Intense violence and sexual transgression Faith and religion Surreal and thought-provoking visions of life and death Erotic relationships and desire Gothic and eerie haunting horror Powerful stories of heartbreak and illness Challenging or sexual themes & twists Show All…
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France
Italy
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Denmark
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FinlandK-16
UK15
IrelandPG
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PortugalM/16
AustraliaM
Germany12
Netherlands12
USA
Australia
Denmark
Finland
France
Germany
Ireland
Italy
Netherlands
Portugal
South Korea
Sweden
UK
USA
this movie is so soft and rough and perfect but I have no idea what the actual fuck happened
i mean who DOESNT sit someone you barely know down and tell them your deepest, darkest hoe stories
what if we self isolated at a house by the sea and started to lose our minds... and we are both girls
Ever heard of a film knocking the wind out of you in the first five minutes? If not watch Ingmar Bergman’s Persona. The opening sequence of this film is surely one of the most unsettling, incredibly haunting things I have ever seen on screen. The music, the images and the lighting are so discomposing to the viewer that within an unbelievably small period of time into the film, Bergman catches us by the throat and makes us experience an almost unbearably intense psychoanalysis of a woman’s mind or is it two women’s minds, I can never be able to tell.
After the opening sequence we are shown a boy getting up from his bed in what seemed to me like…
This movie didn't even have a rowdy group of teenagers reforming society by stealing hearts, what a ripoff
Hyperboles do not matter when discussing Persona, for the film is all but stated in fact that it is not only Bergman's masterpiece, but holding the incredible feat of being considered one of if not the best film ever made.
There are many factors that go into Persona carrying this title, perhaps even too many to explain or be able to fit in this review, but needless to say, it has every element that a perfect film should have. From the famous opening sequence that is an editor's paradise (in fact often cited as an example of the best edits in film history) to Nykvist's iconic shots and frames with light and texture; the way he molds the two actresses…
“But somehow…I think I could change myself into you if I tried. I mean, inside. You could be me, just like that.”
It seems a fool’s errand to write about Persona. Being a fool, I will try.
Watching Persona for the fifth or sixth time, I was once again struck by how engaging it is. Such an aggressive, avant-garde film could easily be off-putting on any number of fronts, slipping into didacticism, boredom, or smug impenetrability. And yet Persona remains mesmerizing. Bergman’s scenario, enacted by two brilliant actresses operating at the top of their form and realized by Sven Nykvist’s stark, beautiful cinematography, seems to open up limitless possibilities for cinema. If film can have this sort of impact, if…
