Persona deals with universal themes that had deeply fascinated Bergman ever since his transition from interpreter to auteur in the early 1950s. The silence of God, and man’s floundering follies in response, is a major conceptual catalyst, surging through Persona’s bleak gray skies like a web of jangled nerves. What makes the film unique is its avant garde trappings – particularly the famous psychotropic opening sequence – which at times makes Persona seem much more Godard than Bergman. Indeed, during the filming of Persona the French New Wave was at the height of its influence; an influence to which even moody Swedish minimalists were apparently not immune.
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