Bergman's Brief
Love is not the warmth of licking each other's wounds - the people created by Bergman have tried all kinds of ways, but still can't understand love. Max and Liv), the same stage (room and island), attempts at ever-flowing characters, ever-changing scenarios, all ending in new failures.
The trilogy of silence has already told the answer - love is the only contradictory concept that transcends metaphysics and keeps a distance from metaphysics. Only metaphysics cannot access refined emotions, only paranoia and dullness remain, and only emotional refinement cannot escape. With endless details, people are surrounded by emotional torrents, unable to pursue a higher and simpler goal, that is, love itself.
The sense of stage drama and the emphasis on faces are all inherited from Dreyer's transcendence in style, and the existence of people in the environment is like Antonioni's modern style (Ann comes from Neorealism, so it pays more attention to the externality of the environment. , while Bergman replaces this "interaction" and "non-interaction" based on urbanity of people and environments with a deeper introversion, namely the introverted side of Dreyer's chamber dramas and facial close-ups).
It can be said that Bergman took this kind of fusion of drama and modernity, not only a sense of participation in appreciating drama, but also a sense of alienation due to modernity, and finally formed a sense of modern drama (just like Bergman). In this film, Mann himself points out the actor's personal understanding of the character with the consciousness of meta-movie), a unique Bergman's image feeling.
View more about The Passion of Anna reviews
