A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth's persona.

Famed stage stress Elisabeth Vogler suffers a moment of blankness during a performance and the next day lapses into total silence. A nurse is put in charge of the actress and finds that that actress's persona is melding with hers. . You can read more in Google, Youtube, Wiki


Persona torrent reviews

Daniel L (us) wrote: A silly and incredibly fun b movie.

Carlos D (mx) wrote: I like Ricky Gervais.I just didn't like this movie at all.wasted talent and potential.

Marti G (br) wrote: Netflix thought I'd like this story about Largo Winch better than I did, but Tomas Sisley was a fresh new talent to meet. I generally almost always love French films, but this film is unlike most of them. It was set in Croatia and Hong Kong -- beautiful locales where you expect beautiful cinematography, but that wasn't so. And the character development that I love the French for was also not there. Perhaps they hoped to start a series, like James Bond, but the direction and the screenplay just wasn't there.

Gordon F (br) wrote: alright movie. not particularly scary but I like it. c:

Ryan A (es) wrote: "If you like watching a musical movies, "Dreamgirls" is the movie for you!" Also, I got to say that this movie for my opinion it was "very well done entertaining!" The performances by the cast are extremely good. What really impressed me was the performances by Jennifer Hudson and Eddie Murphy. "The really raise the bar!" The directing and screenplay by Bill Condon is magnificent. And the score is outstanding.

Matt R (nl) wrote: Awesome watching that a-hole Troy self destruct Charlie Sheen style.

Liy S (us) wrote: i didn't much care for it.. i saw most of it. the main guy's facial expressions were very distracting, but maybe they were supposed to be.. it was very weird..

Allan C (us) wrote: Pretty dismal comedy is only made watchable by the charming Janine Turner. The story has reasonable comic potential, about a pair of bumbling bank robbers, Pauly Shore and Max Perlich, who rob a bank, but then things are complicated when Shore falls for the local police officer investigating the robbery, Turner. Shore is not as insufferable as usual since he's not doing his Weasel character, but he's still not a very compelling or funny of actor. You do get Ned Beatty and Stephen Tobolowsky in supporting parts, but that's not enough to save this unfunny comedy either.

Augustine H (ag) wrote: Speaking of depicting war's absurdity of and distortion to mankind, M*A*S*H clearly surpasses other films with the same theme with its ultra humour. Almost every dialogue and scene can laugh your head off. And for funny, I mean it is really funny, not those stupid jokes and idiotic characters amusing nobody. Probably Robert Altman's best, at least for the comedy genre.

Callum H (es) wrote: What is most resonant within this harrowing, desperate depiction of love lost, destroyed and reserved is quite possibly its lack of remarkability. In a year where an unprecedented quantity of films released have been about the more unexceptional of moments in life (Boyhood, namely), The Disappearance of Eleanor Rigby: Them, is, surprisingly, the most grounded and non-miraculous of them all. There is no melodramatic climax portraying a sentiment that was always there but never revealed, nor is there a falling out which relies solely on plot convenience. Writer and director Ned Benson is adamant in his representation of a relationship gone astray, and never fails to evoke emotion with the most mundane of dialogues. As the lead male states partway through the arduous two hour duration, "I want to go back to the same old, mundane shit!". In a film which thrives on its understatement and subtlety to compel the viewer, this line stands out as being particularly ironic. The question is this though: is this distinct lack of remarkability that Benson incorporates cumbersome for the picture as a whole?Possibly.It proves cumbersome not in the fact that it's dreadfully slow, but in the case that it's awfully meticulous. Despite the two hour picture carries on for what seems another sixty minutes. This slow nature burdens the film in a reality where it can't seem to explode into any fit of resolve. It's actually too ordinary for its own good. And that's the reason why I shan't be acclaiming the film as a masterpiece, because I feel it entirely justified to appraise it as such otherwise. Having not seen the Him and Her cuts which explore the two individual viewpoints of the individuals within the romance explored throughout this feature, I was not at all biased prior to viewing this. I possessed an open mind and was at once excited yet weary. Eleanor Rigby was another directorial debut from 2014, and considering the wide assortment of both successful achievements and dismal failures in this regard (Whiplash and Nightcrawler for the former; Unbroken and Obvious Child for the latter), it was difficult to assume which side of the equation this film would fall on. Fortunately, for myself at the very least, the deeply ingrained and heartfelt tenderness that pervades the atmosphere and being of the picture was enough to have me crying at the sheer beauty of this faulted but otherwise glorious film.A deep tragedy has struck Eleanor Rigby and her husband Conor Ludlow. Initially, we are uncertain as to what that tragedy really is. Subtly we are given clues (perhaps too subtly), through there restrained and desperate scenes of connection. The film explores how they've fallen apart, and how they each individually seek to come back together. They want to return to what they formally perceived as normality. But that shall never happen, because in a sense, they are not meant for each other. Torn apart by destiny, one could consider it, they are inevitably to fail in their conquest for a relationship which even partially resembles the one they shared for their long and prosperous seven year relationship. Eleanor is an understated woman who hides her emotions as best she can, building walls to protect herself from any outside influence. Conor is a confident but pained man, trying to come to terms with what is wrong with his wife. Or perhaps not what is wrong with her, but what is wrong with him. Throughout this story of deceit, perversion, depression, and heartbreak, we ask whether or not they are ever to return to the bliss we hear was present prior to their falling out. Are they ever to do so?Possibly.The ambiguous ending leaves many questions present. Shall Eleanor ever return to her love? Shall Conor forgive both himself and his wife for their mistakes and disparities? We understand that there is love between them all throughout; even in their most distant of moments, they are connected by something or rather. The blue colour palette applied for Conor's sequences is often permeated by the desolate gold and red mixture that accompanies Eleanor. When they lie by themselves, reminiscing about times gone by, the blue melds with the gold, forming a rich aesthetic that is homely and welcome. We understand that this is about them, through and through. Their pain and passion; their hatred and love; their unequivocal despondency and unadulterated ardour. What is so remarkable about the lack of remarkability present is the reality of the situation. Benson's sentimentality threatens to yield distasteful results, but it does not do so due to one key ingredient.Honesty.As was aforementioned, the film does not climax in a stereotypical fashion. Rain does not pour as lips mash together in a ravenous and fiery infatuation. The characters are not perfect parallels of each other. Benson builds a realism about these people, and it's not in the locations nor the cinematography that he concocts such an atmosphere, but in the characters themselves. They aren't fallacious, fanciful representations of a relationship in motion. Eleanor and Conor are human beings whom possess in equal share an individuality that seems to rarely saturate modern romance pictures. Instead of exploring the relationship itself, Benson articulates upon the independent entities which make it up. In doing so, we understand both their infatuation and hatred of each other. Their motivations are clearly discerned, and so the screenplay does not feel required to take advantage of convenience. He brings them together naturally, and when they fail to click into place properly, he disbands them. He allows the fluidity of the characters; the motion of the turmoil; to impart upon the viewer. I cried when both Eleanor and Conor finally came together, as it was not necessarily the resolution to their conflicts nor to their arcs, but an advancement of both of their stories. Their singular stories, elaborated on in turn.Technicalities drag the film down a number of notches, impeding the overall capacity for impact. Whilst the film's dialogue sequences aren't nearly as stagnant and lifeless as, say, those found in a Josh Boone film (shot almost entirely in close-ups, rendering a disjointed and unaffecting result), the medium angle approach seen here; one which provokes nearly no dynamic whatsoever, isn't all that flash. If it wasn't for the compelling charisma of the lead performers as well as the prowess of the writing, one could very easily become detached from any and all drama inflicted on both protagonists throughout. Minuscule lighting and sound mixing issues also hinder the quality of the picture as a whole, but the main detractor in this area is undeniably the score; composed by Son Lux, the score features a collation of derivative, lifeless synthetics which do little to express the emotion of the characters involved. Despite an encouraging finale soundtrack inclusion, Son Lux and Faux Fix's preliminary collaboration on the song 'No Fate Awaits Me', the majority of the score remains a sterile canvas that could've provided something far more gorgeous, but fails to.All the same, these technicalities do not fully cease the goodwill and beauty in the story. Jessica Chastain and James McAvoy handle their jobs perfectly, imbuing a sense of natural reflection and subtlety into their characters; Chastain especially is supreme in her role as Rigby, her ability to change the mood of an entire scene with a single movement of her eyebrow unprecedented. They harness the energy of the picture and provoke a volatile reaction. These characters who seem as real and genuine as any I've ever seen within a romance film prove utterly enchanting, and we are left to their will from the beginning of the running time to the end. Despite the issues that come with combining two individual films into a single piece of entertainment, The Disappearance of Eleanor Rigby: Them manages to remain heartfelt and poignant all throughout. This is a sombre look at two beings who may be destined to always fall apart, as opposed to together. At the end of it all, are we affected by the potency of Benson's production?Probably.

Tim R (gb) wrote: An entertaining rock fest for Metallica fans!