The Passion of Anna ...Middle East

Ingmar Bergman’s Shame had part of its origin I thought, in Bergman’s impulse to use some qualities of his “company” of actors in a certain situation, and his new film heightens this sense of collaboration and continuity. He is the only director now working whose new films grow organically out of his preceding ones: in continuity of locale, of associates, of almost diaristic closeness to the director’s inner experience. It becomes increasingly plain that Bergman wants this continuity to be seen as part of his esthetics.He indicates this in several ways besides the ones mentioned above. There are recurrent names among his characters. Just one example from his latest film, The Passion of Anna:

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