Personally, I think "Anna's Lust" has completed the practice with the meaning of postmodern character concept. Although the film predates the rise of the theory in the late 1980s, surprisingly, the charm of the theory was confirmed in my eyes several times during the viewing of the film.
Reduce the decoding of language, the lines form the story but not the character... Pay attention to the symbolization of the character itself (using the actor's self-dissolution and self-absorption to complete the role modeling of internal and external interpenetration), at the same time, the historical thickness inside and outside of the role play is also become more important and in favor of real*.
Behind-the-scenes interviews with the four actors are intended to steer them towards more active and creative character interpretations; the interviews are incorporated into the text as well as performance notes to help the audience perceive and imagine.
In this "introverted" story, which requires characters to dissect self and other in constant interaction, this functionally formal strategy is undoubtedly excellent in its commitment to the integrity of textual expression.
Max mentioned behind the scenes: "The hardest part of being an actor is how to express this feeling when there is a lack of lines", and he may have unintentionally demonstrated that this need to constantly dissolve, transform and absorb the openness formed by the environment and the role group. The role of dynamic factors in the field is indeed a very challenging task. I don't think it's something every actor realizes and goes after, and Bergman just brought it to the screen. As mentioned earlier, this is at least an action that has certain value.
* Li Zheng: "Postmodern Character View", in "Film Art", 2008, 04.
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