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Zachery 2022-04-24 07:01:06
At the current absolute peak of Bergman, persona is a "character", a "second me". The heroine of the play is trapped in the fear of a mask, and tries to give away the "second self" by abandoning the role of words, but she does not know that the mask of silence can be given more meaning. The overlapping "two mes", the separation and unity in the dialogue with the husband, the return of one person's dress up and the exposure of the camera, gave a chilling look. "Have I lived for even a...
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Isac 2022-04-24 07:01:06
The split-person ego takes care of the id's thoughts, and the superego peels off the id's philosophy. In the eyes of the toiling public, they are all full of food and they are enough to compete with themselves; of course, in the eyes of the explorers who think about the origin of philosophy all day long, it is a display of inner contradictions worth spending time pondering. You can watch this film for half an hour, then wash your face and continue to move bricks tomorrow. The ultimate feeling -...
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Orin 2022-04-24 07:01:06
#SIFF2018# The choice of actors as an expression carrier is a natural thought (even more appropriate than a writer), the superego’s cover-up and arrogance of the self are indistinguishable in professional performances; the super-large facial close-up is full of depression and fear on the screen, Symmetrical composition, the transformation of light and shadow, and the direct psychological entanglement of the characters, the rapid clippings at the beginning and the middle (such as Bergman's...
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Scot 2022-04-24 07:01:06
No labels~ But I still like wild strawberries so much~ This reminds me of Veronica and the like~ Symmetrical shots!! A shot from a stage angle!! A scene with nothingness like a stage set !! So...
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Ericka 2022-04-24 07:01:06
After reading it, I read the script. The most superficial point of view: Elizabeth tries to break the pretense of the role and return to the original self by giving up language, but this silent and closed observer image has become a stronger disguise, forming the control and torture of Elma. When Elma discovered that sincere confession did not exchange for equal sincerity, but was ridiculed and played with, her spiritual defenses collapsed. Elma finally made Elizabeth cry out in a way that...
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Kacie 2022-03-28 09:01:03
How stunning is Bergman's imagery of faces and gazes, how disconnected the text beneath them is. Behind the obscure, minimal, and abstract formalist images and gestures of rejecting a single interpretation is actually a very clear core of intention, and most of the performance is completed by the character's constant anatomy, which is similar to Sa The existentialist novels of Tet are exactly the same ((pseudo-)philosophical exposition is still exposition...). The problems of this type of...
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Lavonne 2022-03-28 09:01:03
Form and core are outstanding! Performance is Elizabeth's "mask" on the public stage, language is the "mask" of each of us in social communication, and video is Bergman's "mask" in the artistic medium. We say that being misunderstood is the fate of the expressor, but is it not a tragic reincarnation when we deceive ourselves and pretend to be a snake? At this point of self-deconstruction, Bergman's position in my heart is finally equal to that of the old...
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Adelbert 2022-03-28 09:01:03
Extreme self-deconstruction and dialogue, but I always think that extreme formalization is the restraint of the film...
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Amely 2022-03-28 09:01:03
How can there still be directors who are inspired by it? They should just give up their artistic career directly (╯°□°)╯︵...
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Gaston 2022-03-28 09:01:03
[A+] I don't know if I'm discussing the "original sin" that belongs to the creator - using the inner confession of other people's true feelings as the creative material, that is, the "mask". On this basis, Bergman completed the "messy" editing of the opening paragraph of the film, perhaps its original intention was to present different film types. After completing the structural expression of the "meta-movie", a character who uses silence to fight against the "mask" is designed, then goodbye to...
Persona Comments
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Sister Alma: Elisabet? Can I read you something from my book? Or am I disturbing you? It says here:"All the anxiety we bear with us, all our thwarted dreams, the incomprehensible cruelty, our fear of extinction, the painful insight into our earthly condition, have slowly eroded our hope of an other-wordly salvation. The howl of our faith and doubt against the darkness and silence, is one of the most awful proofs of our abandonment and our terrified, unuttered knowledge." Do you think it's like that?
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Sister Alma: Karl-Henrik and I rented a cottage by the sea once. It was June, and we were all alone. One day, when Karl-Henrik had gone into town, I went to the beach on my own. It was a warm and lovely day. There was another girl there. She'd paddled over from another island because our beach was sunnier and more secluded. We lay there, sunbathing beside one another, complete naked, dozing now and then, putting suntan lotion on. We had those cheap straw hats on, you know? I had a blue ribbon around mine. I lay there peeping out from under my hat at the landscape and the sea and the sun. It was kind of funny. Suddenly I saw two figures leaping about on the rock above us. They would hide and then peek out. "There's a couple of boys looking at us," I told the girl. Her name was Katarina. "Let them look," she said, and turned over on her back. It was a strange feeling. I wanted to jump up and put my robe on but I just lay there on my stomach with my bottom in the air, not at all embarrassed, completely calm. Katarina lay there next to me the whole time, with her breasts and thick thighs. She just lay there sort of giggling to herself. I noticed that the boys had come closer. They just stood there looking at us. I noticed they were terribly young. Then one of them - the more daring of the two - came up and squatted down next to Katarina. He pretended to be busy picking at his toes. I felt so strange. Suddenly I heard Katarina say, "Hey, why don't you come over here?" She took him by the hand and helped him off with his jeans and shirt. Then suddenly he was on top of her. She guided him in with her hands on his behind. The other boy just sat on the slope and watched. I heard Katarina whisper in the boy's ear and laugh. His face was right next to mine. It was red and swollen. Suddenly I turned over and said, "Aren't you coming over to me too?" And Katarina said, "Go to her now." He pulled out of her and fell on top of me, completely hard. He grabbed my breast. It hurt so bad. I was ready somehow and came almost at once. Can you believe it? I was about to say, "Careful you don't get me pregnant" when he suddenly came. I felt it like never before in my life, the way he sprayed his seed into me. He gripped my shoulders and arched backward. I came over and over. Katarina lay on her side and watched and held him from behind. After he came, she took him in her arms and used his hand to make herself come. When she came, she screamed like a banshee. Then all three of us started laughing. We called to the other boy, who was sitting on the slope. His name was Peter. He came down, looking all confused and shivering despite the sunshine. Katarina unbuttoned his pants and started to play with him. And when he came, she took him in her mouth. He bent down and kissed her back. She turned around, took his head in both hands, and gave him her breast. The other boy got so excited that he and I started all over again. It was just as good as before. Then we went for a swim and parted ways. When I got home, Karl-Henrik was already back from town. We ate dinner and drank some red wine he'd brought. Then we had sex. It's never been as good, before or since. Can you understand that?
