Chaotic Ana
Ohjaus:
Julio MedemKäsikirjoitus:
Julio MedemKuvaus:
Mario MonteroSävellys:
Jocelyn PookNäyttelijät:
Manuela Vellés, Charlotte Rampling, Bebe Rebolledo, Nicolas Cazalé, Matthias Habich, Asier Newman, Lluís Homar, Gerrit Graham, Juanma Lara (lisää)Juonikuvaukset(1)
Ana leads a sheltered existence with her father on Ibiza until a mysterious philanthropist (Charlotte Rampling) stumbles on Anas artwork and invites her to Madrid to develop as a painter. There Ana meets Said, a Berber refugee, and suddenly their passionate relationship leads to the discovery of other past lives that Ana appears to have had. As these are peeled away Ana begins to question who she is and her journey takes her across eras and continents on a voyage that goes far beyond self-discovery. Grounded in an extraordinary performance by newcomer Vellés, Chaotic Ana is a tale of remembrance, trauma and identity that negotiates the very boundaries of that which can be known and that which will always defy human control. (jakelijan virallinen teksti)
(lisää)Arvostelut (2)
The pessimist in me could be dissatisfied with the fact that I have wasted 2 hours of my life, but the optimist balances it out by claiming that at least I can successfully avoid further films by Julio Medem. I disliked absolutely everything about this film. Starting with the chosen film language and ending with the plot. Once upon a time, I had the opportunity to travel with an enthusiastic follower of South Asian religious cults, and he described to me during the train ride what he had been in his past lives and what he intends to be in his future lives. I didn't kill him only because conventional good manners limited me, and therefore a certain social barrier, which I fortunately managed to get rid of, but unfortunately, Medem is a bit out of reach, so his film is taking the blow. I understand that a certain part of intellectuals can be brought into a state similar to what an addict experiences after a month of abstinence when encountering a similar mystical-esoteric style and heavy art that emanates from several scenes, but I could only tolerate the content that Medem served me if it was properly ironic. If chaos, then the one presented by Neil Gaiman in his "Sandman" series, or even better, the one I encountered in the second Hellraiser. It is, in the end, thrilling mysticism for those interested in "these things." For others, it's probably just a hysterical and unfinished love story. I just don't understand why, like many others, they gave it 3 stars. Most likely, it was that captivating mysticism for them.
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The key to the final scene lies in the battle between the feminine and masculine principles. Against Any's emotionality and spontaneity (the woman as the giver of life), there is a man, the falcon from the opening scene, representing violence and selfishness (associated with the congressman's machismo). So Ana, who has absorbed all the pain and suffering of women for the past 1,000 years, makes a (dove-like) gesture of defiance for all the women who have found refuge in her and have given her strength and confidence. The film also offers a number of other questions to contemplate, accompanied by excellent music and an overall captivating atmosphere.
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