Mike Ho’s “Persona” (2024) is a kidnapping drama sans any color and texture. A woman wakes up in an unknown house. She has no recollection of the circumstances that transpired and has brought her there. She fumbles around for clues and markers that can give her a certainty or inkling of the stuff that has gone down here. Groping in the dark, she stumbles across another bruised woman, Samantha. It is only after some effort the woman recalls her name being Tricia.

What’s definite, however, is the reality of the house where the two are caged. The exits are all sealed up. But the ominousness of the captor lingers in the air. At any point, he may be back. There’s no real threat though the endangering man makes his appearance brashly. The film is essentially circling two women who are bracing themselves for the inevitable return of the kidnapper.