Following her theatre training which included study at the Royal Dramatic Theatre School from 1954-56, and a series of bit parts in films, Andersson made her first memorable screen appearance in a small role in
Smiles of a Summer Night, thereby joining the wonderful company of actors who played in Bergman's films of the 1950s and 1960s. Following her role in
The Seventh Seal, as the wife in the pair of fairground innocents who survive the destruction of the knight and his family after the apocalypse, she played the hitchhiker in
Wild Strawberries, again projecting a youthful hopefulness and innocence. Her portrayal of the unmarried mother in
Brink of Life revealed a broader range and won her an award at Cannes (along with
Ingrid Thulin and
Eva Dahlbeck for the same film).
With the exception of a role in
All These Women, Andersson did not work with Bergman for six years. Their collaboration resumed with her most important film,
Persona, in which she established herself as an actress of international stature. This masterpiece owes much to Andersson's brilliance and is evidence of her greater emotional experience than was apparent in her earlier work. The film required of Andersson an enormous extension of her talent; her submission to the film's somewhat cruel objectivity attested to Andersson's dedication—not only to the aims of Bergman's films but also to the demands made by a role of extraordinary emotional complexity. The characterization did much to erase the rather condescending view of her as a pleasant, lightweight actress, and elevated her to the first rank of Bergman's ensemble, along with
Thulin and
Ullmann.
Andersson then made a number of films with other Swedish directors, and worked again with Bergman in a supporting part in
The Passion of Anna, in a central role opposite Elliott Gould in
The Touch, and in a brief appearance in one episode of
Scenes from a Marriage, which would be the last films they made together. Like
Ullmann and
Thulin she has also appeared in a number of international films, usually wasting her talent.
— International Dictionary of Films and Filmmakers