By the mid 60s, Bergman had already conjured many of the cinema’s most unforgettable images. But with the radical Persona, the supreme artist attained new levels of visual poetry. A nurse is put in charge of an actress who no longer speaks and finds that the actress’ persona is melding with hers.
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Everytime you enter into the mysteries of "Persona" the experience makes you merge with the film and its character(s). No matter how you interpret it, you'll always get deep inside the human mind. A fascinating masterpiece.
Being in/watching Bergman films always made me feel like existing in a completely different time and space opposite of my own. A land so foreign and absurd, yet so familiar and natural ; our own subconsciousness. A psychological roller-coaster ride you need once in a while to let loose. and Persona is the colossal twister rail that stirs my stomach like a hurricane and plunge me out of seat and into oblivion.
Mind-blowing. I remember thinking that I don't know what the hell I just saw...but that it was one of the most fascinating and thought-provoking films I have seen. And I knew I would watch it again and again.
Truly magnificent in every respect, this is a fragmentary but utterly enthralling psycho-breakdown of ‘self’ conveyed in filmic language. A breakdown in most senses too, both emotional and analytical, although whether the parts are put back together again is unknown and repays repeated viewing - something revealed afresh each time. Stark, piercing and beautifully timed - take note all those that ape this masterwork.
Rewatch of a 35mm semicentennial print. This originally came out the same year as Antonioni's Blow-Up, which is odd given that both films are more or less 'about' the same thing -how perceived images (real or fake) have a palpable effect on our consciousness. This goes further, though, by demonstrating how the body is inextricable from the perception process (what would Merleau-Ponty have thought of this film?)...
A cogent meta-narrative exploring the blurred lines between love and hate. Bergman's tropes are often utilised in contemporary cinema (none more so than by his most famous fan, Woody Allen) and occasionally parodied (500 Days of Summer), but his avant-garde affectations rivalled Bunuel for their semantic clout.