• Suède Persona


En plein milieu d'une représentation, la comédienne Elisabet Vogler perd l'usage de la parole. Après un séjour dans une clinique, elle s'installe quelque temps sur l'île de Fårö avec son infirmière, Alma. Les deux jeunes femmes vont alors nouer une grande complicité qui va pousser Alma à se confier. Mais cette relation fusionnelle va très vite se détériorer... (Carlotta Films)


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Critiques (4)


Toutes les critiques de l’utilisateur·trice

anglais Even if you don't like this film, you simply understand that this is something created by a person who was an incredibly talented filmmaker and who knew how to fully utilize the medium and penetrate it in unique ways. The interweaving of images/faces is incredibly brilliant, which by the way also demonstrates the director's casting abilities. ()


Toutes les critiques de l’utilisateur·trice

anglais One of those films that make it worthwhile to ignore the world around us for a while and embrace the new aesthetic and intellectual values that one brilliant artist presents to us exclusively and for free. The magic of Persona lies in the fact that we understand what it wants to say, but its statement is made in a way that cannot be interpreted and explained literally. A minimalist but endlessly creative celebration of cinematic language, both silent and conversational, a searing psychological play with two pivotal characters and the audience’s expectations that are shot to the max throughout – though Bergman doesn't need any crazy big twists. A lot of proper filmmaking art for a low price. Thank you. ()



Toutes les critiques de l’utilisateur·trice

anglais Ingmar Bergman's films lock me into a different world, where no mental experience is deep enough to hide. This also applies to the unsettling Persona, which from the opening shot began spinning depressive circles in my mind. In the introduction, the film is a psychological bullet, suggesting that even the experiences we have gained throughout our lives cannot tell us what we really want. With the urgent camera, the story gains a provocatively built atmosphere and an interesting balance of power, where it seems like the two characters could almost switch roles. And yet in the final act, Bergman terribly disappointed me, since given his nature, he allowed the mysteriousness to prevail, causing the storytelling to completely lose its tempo. The plot brings nothing new, it stands still, and the director only plays with his ideas, which complicate all possible understandings of the climax and the story as a whole. ()


Toutes les critiques de l’utilisateur·trice

anglais This is a hyper-intellectual fetish for which I’d beat Bergman with an IKEA chair. I really suffered during the mandatory school screening to the point where I wanted to take off my glasses and gouge both my eyes out. I know why I voluntarily avoid this conversational art by a mile. ()

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