Ana, My Love

2017

Drama / Romance

194
IMDb Rating 6.7 10 2

Synopsis


Downloaded times
September 30, 2021

Cast

Adrian Titieni as Psihanalist
720p.WEB 1080p.WEB
1.1 GB
1280*720
rum 2.0
NR
23.976 fps
125 min
P/S N/A / N/A
2.04 GB
1920×1080
rum 2.0
NR
23.976 fps
125 min
P/S N/A / N/A

Movie Reviews

Reviewed by tributarystu 7 / 10 / 10

The Relationship Hive Mind

Netzer's follow-up to the excellent Child's Pose (2013) shares some elements with its precursor, but takes a different angle to the emotional roots and psychological ties of family life. A complex and layered film, it is framed in the present, but plays with the chronology of events to suit its thematic anchors: how relationships shape their protagonists and create inherent tension, abiding by no morality punch- card. While pertinent and polished in its construction, I found it hard to stay connected emotionally, especially as the characters evolve elliptically and the change in their dynamic feels abrupt. Our couple is Toma and Ana, two lovers who meet during university and, more than anything, fall into a relationship. They are both cultured individuals and complete each other well, as Ana suffers from anxiety attacks and Toma is seemingly always there to support her. The movie proceeds to take us through the usual familial meet and greets, which prove traumatic and lay the groundworks for all the ensuing/existing psychological trauma. Those scenes have a sense of caricature about them, with 'traditional' values of partner screening proving funny and harrowing at the same time. But they prove to be just pieces of an ambitious human puzzle, which ends up taking us down an exploratory route devoid of superfluous emotion. As an aside, some people in the cinema were taken aback by the explicitness of a sex scene, which I would rather deem justified, due to the Freudian aspects of Netzer's approach - and a meaningful character- building moment. The attention to detail in fleshing out Ana and Toma provides the characters with a lot of depth. They are, as one would say, profoundly human in their imperfections and the manner in which this comes to the surface as their relationship evolves feels very true. The movie puts psychoanalysis at its core, turning it into an indirect plot device, which sometimes looks like a black box. More important though is how Ana and Toma react to change, in particular to Ana's gradual self- empowerment (thanks to a mixture of religion and psychoanalysis), which fundamentally alters Toma's role as 'the saviour'. It all becomes a matter of identity, of shaping and losing it, as defined by relationship roles, rather than intrinsic traits. Quite interestingly, the first scene finds the protagonists discussing Nietzsche's Beyond Good and Evil - the subjugation of morality to Christian dogma and the idea that good and evil are not quite opposites. By the end of the film, the overwhelming sense of some moral misappropriation between Ana and Toma can and, perhaps, should be seen through this lens, with no clear distinctions at hand for who is in the right and who might have been wronged. While all this is intense and fascinating stuff, the chronological structure creates a bridge I couldn't cross. On the one hand, the technical execution of the to and fro was handled well - it's impressive how different degrees of a receding hairline can create a sense of time. Although some nuances are lost, that ends up challenging the viewer and keeping him engaged. On the other hand, because of gaps in time, Ana is difficult to grasp. She becomes a completely different person, which goes so far as her accent changing, and due to the elliptical nature of the story, she also feels emotionally like a third character in the relationship. Whereas Toma is more consistent throughout, Ana is fractured, making her feel foreign and inauthentic. This is part of the reason why the second half of the film lost some momentum. Upon its conclusion, which tries a little twist and then goes one mile too far by trying to explain it, I wasn't engaged any more. It's a shame, because there is so much pain and sacrifice in Ana, Mon Amour that it really makes love feel like penance and weaves an exquisite psychological pattern to justify the claim. For the exploration it undertakes in what drives the two lead characters, both so well portrayed by Postelnicu and Cavallioti, it is commendable.

Reviewed by paulscofield68 7 / 10 / 10

An Engrossing European Art-House Drama

Ana, Mon Amour (Anna, My Love) is a Romanian drama, inspired by a Romanian novel, Luminata, My Love. In many ways, it's a typical European art-house drama: a narrow, intense love story, very emotional scenes, jumps in time, some religious and intellectual discussions here and there, etc... The screenplay is excellent, as are the acting and direction. I liked this film much more than Child's Pose (and any recent Romanian film I've seen such as Bacalaureat or The Death of Mr. Lazarescu). It might even be better than Tuesday After Christmas. Honest and illuminating, with a damaged, melancholic streak running right through the whole film. 'Ana, mon amour' won the prestigious Silver Bear (runner up) award at the most recent Berlin Film Festival, and is highly recommended for lovers of European art-house cinema. 'Chapeau,' as we say here in France... (translation: you have my deep respect for your fine work). 8.5/10

Reviewed by euroGary 7 / 10 / 10

A melodramatic yet tender love story

Despite its French title, 'Ana, Mon Amour' is set in România. It follows a young couple's love affair from first faltering steps to slow, lingering death several years later. Ana and Toma meet at university. She has an anxiety attack during their first date (a discussion about Nietzsche) and Toma, sucker for a needy cause, is smitten. For the first several years he is the dominant partner, supporting Ana in coping with her mental issues and rescuing her when she (accidentally?) overdoses. But towards the end of their relationship, with Ana's career taking off as Toma's stalls - leaving him at home looking after the children - the tables are turned and neither is sure if their romance can survive. The narrative hops back and forth through the years, but is relatively easy to follow (for instance, Toma's hairline provides a clever guide as to how far through the romance a particular scene occurs!) Lead actors Mircea Postelnicu and Diana Cavallioti deliver their lines in a convincingly naturalistic fashion - and while they are not wholly convincing as a couple in love, that may, given the difficulties faced by Ana and Toma, ultimately be the purpose of the film. It is well worth watching - it lasts for over two hours, but does not seem that long at all.

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