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Toney 2022-03-28 09:01:03
"Language is the cage of human beings", so sometimes we can only turn our backs and keep...
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Madisyn 2022-03-28 09:01:03
Atypical Bergman, the approach is quite experimental. So this might be one of his best works. Under the extremely simplified lens, there is only the flow of the inner thoughts of the characters, which appears purer and more impactful after removing the traditional story frame. Although the story is about two characters, this mostly raving work can also be seen as Bergman's exploration of his inner world. An artist's fear can only be understood by...
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Henderson 2022-03-28 09:01:03
Finally got a shocking Bergman work. The extraordinary sense of form, the set of movie images that appear in the title and the film, the child's touch on the mask, the overlapping faces of the two heroines, and the camera appearing at the end of the film all feel fresh and exciting. The scene where the faces of the two female protagonists overlap makes the mask I understand become a film that explores the essence. A woman splits in loneliness, analyzes herself in all directions, and the...
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Corene 2022-03-28 09:01:03
Extremely sophisticated pictures, beautiful images, as well as mysterious dreams and various symbols. Explore people's self-cognition, whether you become yourself or be influenced to become someone else. 2/1/2016 Rewatch: marveled at Liv and Bibi's acting, able to withstand so many facial close-ups (Bergman and his royal photographer Sven Nykvist thought the medium shot was too boring and shot a lot of facial close-up long shots ) while also seeing a political element in the context of the...
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Clark 2022-03-27 09:01:06
Persona, the second self derived from the character, everyone has evil hidden in their hearts. Bergman is like the Freud of the film industry, photography is...
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Kenton 2022-03-27 09:01:06
After Wild Strawberry, I was prepared that I would not like this film. I didn't expect to dislike this film so much and the students who supported this film had a big tear. I admit it's technically brilliant, but it's the kind of brilliance that ruins the film's over-the-top stunts and symbolism. It seems really to the taste of intellectuals, plus a little bit of Vietnam War self-immolation monks and Auschwitz The little Jewish boy climaxed, but unfortunately none of you really care about these...
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Marley 2022-03-27 09:01:06
Reminds me of a joke: Zheng Yuanjie participated in a writers’ pen meeting. At the meeting, a person talked about reading and asked him if he had read “Golden Rose” written by a Soviet writer. Zheng Yuanjie answered honestly and said no. That person exclaimed in a volume that everyone in the venue could hear: "You haven't even seen "Golden Rose", how did you write??"... This made Zheng Yuanjie extremely embarrassed and at a loss. Zheng Yuanjie also took revenge. When it was his turn to speak at...
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Green 2022-03-27 09:01:06
The night after reading it, I dreamed that I cut my hair. Has the same short hair and bangs as hers. Except no, soft golden. / Watching "Masquerade" for the first time, it is like a person who has lived in lies and illusions all his life is suddenly pushed to the truth one day without reservation, silently and violently cruel. Some people can't accept Bergman's silent cruelty. His pictures are soft and gentle, but the inquiries to the bottom of his heart are direct and not...
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Elsie 2022-03-27 09:01:06
The characters achieve a defensive turn under the lock of the difference of light and shadow - the entanglement of faces is contained in the visual. Bergman invokes the forgotten actions unconsciously to a large extent: the bewilderment formulated by the interaction of language at the perceptual level, passively identifying the identity of a face (how to define the existence) and making it a A "reflector" that transforms from a still to a subtle moving organ. The close-up gaze is injected with...
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Jasper 2022-03-26 09:01:05
Three brushes. 1. Ending with the beginning and end of the film itself, the symbols of the old film are constantly interspersed and reproduced (penis, Jesus, lamb, child, old man), Bergman kneads his sincerity and all kinds of past experiences into a rubbing mask. Resurrection boy, looking directly at the most real suffering and suffering of human inner emotions in the incoherent and deep dream. The screen that is intended to be a mirror is the entrance for the audience to enter the character's...
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?
