Ingmar Bergman’s Persona (Sweden, 1966) is often described as an intense drama about the relationship between a famous actress and the inexperienced nurse assigned to care for her after she suffers an emotional collapse and falls mute. As the film advances, the lines between reality and fantasy blur greatly. Concurrently, a palpable sense of sexual desire on the part of the women arises. Persona stands as its writer/director’s most formally radical feature, complete with recurring references to its status as a film via the sound of a rattling projector, shots that go in and out of focus, a celebrated moment when the film seems to actually break, and a narrative that inevitably raises questions about the connection between communication and consciousness; acting and agency.