Ingmar Bergman

The Passion of Anna

The Passion of Anna

This drama shot on Ingmar Bergman’s beloved Fårö island describes a mood of fear, isolation, and the longing for connection. Not long after the dissolution of his marriage and a fleeting liaison with a neighbor (Bibi Andersson), the reclusive Andreas (Max von Sydow) begins an ill-fated affair with the mysterious, beguiling Anna (Liv Ullmann), who has recently lost her own husband and son. Bergman’s first color film since All These Women, The Passion of Anna is a sequel of sorts to Shame. It incorporates documentary-style interviews with the actors, blurring the boundaries between fiction and nonfiction, lies and truth, dreams and reality, identity and anonymity.

Film Info

  • Ingmar Bergman
  • Sweden
  • 1969
  • 100 minutes
  • Color
  • Black & White
  • 1.66:1
  • Swedish

Available In

Collector's Set

Ingmar Bergman’s Cinema

Ingmar Bergman’s Cinema

Blu-Ray Box Set

30 Discs

Ships Mar 13, 2019


The Passion of Anna
Max von Sydow
Andreas Winkelman
Liv Ullmann
Anna Fromm
Bibi Andersson
Eva Vergérus
Erland Josephson
Elis Vergérus
Erik Hell
Johan Andersson
Sigge Fürst
Ingmar Bergman
Lars-Owe Carlberg
Sven Nykvist
Siv Lundgren
Costume design
Assistant makeup artist
Cecilia Drott
Production manager
Lars-Owe Carlberg
Lennart Engholm

From The Current

Liv Ullmann and Bibi Andersson, Sisters in the Art

Ingmar’s Actors

Liv Ullmann and Bibi Andersson, Sisters in the Art

The powerhouse actors at the center of Persona became two of Ingmar Bergman’s most essential collaborators, bringing a remarkable emotional range to their performances.

Liv Ullmann and Ingmar Bergman’s Creative Marriage
Liv Ullmann and Ingmar Bergman’s Creative Marriage

“We make each other alive; it doesn’t make a difference if it hurts,” Bergman once wrote to Ullmann—and that emotional intensity gave fuel to their extraordinary forty-year collaboration.



Ingmar Bergman


Ingmar Bergman
Ingmar Bergman

The Swedish auteur began his artistic career in the theater but eventually navigated toward film—"the great adventure," as he called it—initially as a screenwriter and then as a director. Simply put, in the fifties and sixties, the name Ingmar Bergman was synonymous with European art cinema. Yet his incredible run of successes in that era—including The Seventh Seal, Wild Strawberries, and The Virgin Spring, haunting black-and-white elegies on the nature of God and death—merely paved the way for a long and continuously dazzling career that would take him from the daring “Silence of God” trilogy (Through a Glass Darkly, Winter Light, The Silence) to the existential terrors of Cries and Whispers to the family epic Fanny and Alexander, with which he “retired” from the cinema. Bergman died in July 2007, leaving behind one of the richest bodies of work in the history of cinema.