Persona ★★★★★

The unbearable lightness of seeming. At its core channeling the Sartrean spirit, Bergman concerns himself here with the problem of good faith, perhaps the most quintessential and tangible existentialist issue. Meanwhile the audience is consequently reminded to direct the questions posed by the film at the film itself. This is post-film in 1966. The structure of the film itself might be Bergman at his most purely crystallized, with an intent clear and cold as ice. But I still can't call it my favorite Bergman film.

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