Such anxieties drive Ingmar Bergman’s Persona, which considers a nurse who confides in her mute patient but struggles to differentiate herself. At the same time, a double also serves as a potent symbol, a metaphor for our own fears about identity-or its loss. Doubling might be literal in its manifestation: the character who looks like another character, the character who represents what another character lacks. Our fear of automatons, of dolls, of robots in human form is instinctive: here is this thing that looks like us, is able to behave as we do, but remains fundamentally mysterious and, for all we know, may be propelled by secret forces outside our control.
Film auteurs have long understood that a double allures and frightens in equal measure.
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