With some of the most iconic imagery ever committed to film, this exceptionally beautiful specimen of movie-making (The New Yorker) is recognized as a modern masterpiece and a landmark in late twentieth-century art (Time Out London). Actress Elisabet Vogler (Liv Ullmann) has stopped speaking and withdrawn completely. Under doctor’s orders, she’s taken to a remote seaside cottage by a nurse, Alma (Bibi Andersson). Alma chats to fill the silence and gradually begins to lay bare her entire identity until she discovers it is being coolly sucked away from her. As the women battle for control and sanity, the question becomes not which of them is patient and which is caregiver, but are they two separate women at all? –MGM
The most famed and honored filmmaker ever to emerge from the nation of Sweden – and regarded by many as one of the three or four most brilliant directors of the 20th century – Ingmar Bergman radically altered the nature and meaning of the motion-picture form, transfiguring a medium long devoted to spectacle into an art capable of profoundly personal meditations into the myriad struggles facing the psyche and the soul. By focusing on the exploration of self with unparalleled intensity, Bergman brought to the screen a new sense of emotional intimacy, fusing the concepts behind Freudian psychotherapy with a dreamlike sensibility founded on visual metaphors, flashbacks, and extreme close-ups to create a revelatory cinematic world unlike any before it.
Born Ernst Ingmar Bergman on July 14, 1918, in Uppsala, Sweden, he followed a brief 1938 military stay by attending Stockholm University. While there, he staged his first plays, among them adaptations of Macbeth, August Strindberg’s… read more
this film spoke to something very deep within me. this film is an experience that cannot ever be felt again. it will always be absolutely new, unlike anything else. that is what a good film is! this is an absolute masterpiece, and i do not know if i have just discovered what the meaning of true masterpiece is.
A bit messy at times, but a good "modern" effort. Resembles L'eclisse by Antonioni, a little bit of Godard's experiments - what is the true meaning of cinema? - and film's eternal question, related to its truthfulness, what's real and what's not, what's in the screen that doesn't belong to it and what isn't that really does. It's a shame that, besides all these questions, I couldn't seem to connect the dots. Bollocks
last 20 minutes were a blur to me, needs a rewatch. but incredible imagery and performance, liv ullmann is a goddess.
Upon 2nd viewing I've come to realize how wrong I was and just how great this movie is! Seeing it on 35mm really helped. At one point the projectionist messed up and the image was blurred. The same thing happened later on, except it was part of the actual shot. Having two blurred shots, one unintentional and one intentional was a great postmodern experience and was the moment I realized how great this film is.
The workshop “Video Essays: Film Scholarship’s Emergent Form” takes place this evening in Boston.
A rediscovered interview, a new issue, a fresh round of lists of the best of 2011.
Ingmar Bergman’s Persona is one of the most beautiful films I’ve ever seen. It’s also in some way about film itself. The abstract opening sequence is unsettling, it reminds you of the fact that you… read review
Elisabet, atriz de teatro e cinema, está internada numa clínica psiquiátrica. Pois após encenar a peça Electra, ela ficou em estado de silêncio profundo, não falando e não se movendo por três meses… read review
Honestly, I don’t find this film difficult to understand. It’s not ambiguous, I think it’s quite clear what Bergman is saying. Of course, I may be wrong,
First, you must understand that Elizabeth… read review
Ingmar Bergman’s 1966 film, Persona, is a work of deconstructivism. This was a postmodernist movement of the mid-60’s that strived to produce, essentially, art for art’s own sake. Moreover… read review