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Anna – Predictably unpredictable



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Anna – Predictably unpredictable


Luc Besson returned to his captain with a strong and deadly heroine. It’s a shame that I didn’t manage to pack a good movie behind the scene.

Luc Besson and the strong female characters have been essentially going hand in hand since the French director burst into the public consciousness, and after his latest film, 2017’s Valerian and the City of a Thousand Planets, was pretty much over the box office, the thought more or less surrendered, that it might be worth going back to some proven recipe. That’s how the spooky action thriller, Anna, was born, which is a bit like trying to retake 1990’s Nikita. Which in itself wouldn’t be a problem, since it’s been almost thirty years, with new ideas and a modern approach that could have easily brought together a percussive summer cinema that evokes a bit of a cyména du look that puts the style first. In the end, though, Anna is nothing more than an anemic imitation of Luc Besson – and the big problem is that she did it herself.

And the slightly long-lasting, but overall quite impressive overture still embodies the experience quite well. Here we can meet Anna (Sasha Luss), the little match girl … I mean, a matryoshka baby girl who is embraced by a French modeling agency and then becomes a real star in Paris. However, it soon becomes clear that this is nothing more than a well-designed disguise, as Anna unleashes a bullet into her suitor at an unexpected moment, revealing her true self. He is not an ordinary beauty from Moscow, but a KGB agent who had been rescued from the world of crime and hopelessness by Alex (Luke Evans) a few years earlier, promising to be free and start a new life after a few years of service. It is conceivable, of course, that the situation will not be so simple, and something really exciting could have come out of it. However, the real twists and turns were not embedded in the plot by Besson, but rather left to the narrative toolbox — exactly one piece of equipment that he puffs for so long that by the end the film would almost become a parody of itself.

It is already clear from the above-mentioned introduction that time planes will play an important role, and Anna is structured like this from the beginning to the end: every 15-20 minutes we jump forward or backward in time, thus constantly putting new events in a new light. And unreliable narration — especially in this genre — can be a very powerful cinematic tool, it’s no coincidence that screenwriters love to ***** on it, but Besson has totally lost the scale. Instead of spice the film gently with two fingers, he grabbed a large ladle and scattered it all over. And the end result is just like an over-flavored food: intrusive and not good at all. It’s terribly tiring when the film shakes the same “trick” for a long time (even though we know in advance from suspiciously incomplete scenes or just mysterious looks and half-sentences that we don’t see the full reality here) – the cinematic audience is also a painful “woe , no! ” he exclaimed the film’s many such draws at the very end of the story, which had been fired about three times more than it needed to.

Because of the constant bouncing, it is no wonder that a consistent image of Anna herself cannot form in the viewer either. This, of course, is not just a flaw in the structure: Sasha Luss can’t really unfold and be convincing in the role of the charming model, the ice-cold KGB agent, or the drugged girlfriend, and her personal motivation and dramatic-love line only have a paper-thin background, which is why I can’t blame anyone if you feel unbelievable. Especially since the film sometimes undermines this kind of construction on its own – such as when the film superimposes a musically montage (!) Almost choreographed on a strongly negative emotional scene, essentially nullifying what is in front of it. he tried to build it up in a few minutes. Although Anna has good scenes anyway, the restaurant wrestling in the trailer, for example, has literally been brutally spectacular (perhaps the 18th-rated ride has been ridden here the most), and Helen Mirren is sparkling straight in the role of KGB boss Olga as just as Cillian Murphy is doing well in the CIA. All in all, however, the whole thing is a big two-hour roll of eyes, which is also full of inaccuracies – my favorite is where the Czech Republic is mentioned, when only Czechoslovakia existed, the experience itself is quite anachronistic.

Last year, in the image of the Red Sparrow, we could already see a forgettable piece drawn on the concept of a “beautiful and deadly heroine with a Cold War-spy act,” but in Anna’s light, the film starring Jennifer Lawrence may seem almost a masterpiece. And that’s very sad, because instead of Luc Besson repairing his reputation with Anna, he went even deeper, from which he seems to be becoming more and more distant when he was still a big, innovative name in the film world.

Anna
Director: Luc Besson
Playing time: 119 minutes
Date of domestic presentation: July 18, 2019
Distributor: Freeman Film