Luc Besson takes action in his spy thriller ANNA once again returns to the motif of a resolute fighter, here in the form of the beautiful acting debutant Sasha Luss. But the director of “Léon – The Professional” gets carried away when he tries to stage his story in a particularly clever way, actually only causing confusion. We reveal more about this in our review.
Anna (Sasha Luss) and her friend Maud (Lera Abova).
The plot summary
Behind Anna Poliatova’s (Sasha Luss) breathtaking beauty lies a secret: not only is she one of the most sought-after models in Paris, the young Russian also has unique skills that make her one of the KGB’s most feared assassins in the world. When CIA chief Lenny Miller (Cillian Murphy) sets his sights on the beautiful woman and abuses her deadly abilities for his own purposes, Anna becomes increasingly entangled in a web of lies and intrigue from which there seems to be no way out. Who can she trust? The KGB and above all the resolute Olga (Helen Mirren)? The CIA? In the end, above all, yourself…
Anna Movie Meaning & ending
Is the time of “Léon – The Professional” director Luc Besson over, or is he just trying to build on old successes after failed exercises like “Lucy” or the big-budget catastrophe “Valerian” ? Based on his new film “Anna”, the signs point more to the former, because of how stylistically the Paris-born filmmaker stages the action scenes of his spy thriller (and thus follows on from career highlights such as “Léon”, “Nikita” and “The Fifth Element”) ), so much does his daring as a screenwriter fail because of the large dimensions that Besson is aiming for here. The focus is on a young model, played by newcomer Sasha Luss, who is also actually in the fashion and dance business and who has already worked for high-fashion fashion brands such as Chanel and Dior and is playing her first leading role in the cinema here. In “Anna,” Luc Besson sends Luss around the globe, where she has to defend herself armed to the teeth against tough opponents without ever having wanted to do so – greetings from “Nikita” and “ Red Sparrow.” But according to a classic spy story, Besson doesn’t seem to have been the point. Instead, he also touches on the genres of fashion satire ( “The Neon Demon” in a much less biting manner, but rather torturedly funny), romance and drama, mixes everything into a half-baked paste and in the end, what remains above all are memories of that Probably no film has ever jumped through time so often and so unfocusedly as in “Anna”.
Interpol’s Lenny Miller (Cillian Murphy) is hot on Anna’s heels…
In the first 40 minutes, the plot of “Anna” jumps back and forth so often that Luc Besson literally exposes this narrative device to ridicule. “Two years ago”, “Five months later”, “Three years before” and so on and so forth – at some point no longer being able to follow what is happening on the screen is not an admission of a lack of attention, but rather a result of a lack of coordination. As the film progresses, it actually makes sense at several points that some events are only revealed after the fact; After all, in the espionage business, one hand rarely knows what the other is doing and plans are made in the background, the functionality of which only becomes apparent as a result of other plans. In the first half of “Anna”, however, this game of supposed gaps in knowledge is not at all productive – and the reasons for the many jumps in time are anything but obvious. If the story of the title heroine, who came from a proletariat background, later celebrated success as a model and was ultimately hired as a spy, were told in chronological order, the events would contain no less significance than they do now; on the contrary. Only when unforeseen twists arise from the same stylistic device in the last third does its use make sense. But here Besson has long since overused the whole thing.
After the confusingly constructed first three quarters of an hour, the script, written by Luc Besson himself, takes a much more leisurely approach. As usual, the director stages agent Anna’s involvement in all sorts of assignments for the KGB in a stylish manner; and it is through this element that he elevates “Anna” above average, at least at times. How the resolute beauty single-handedly takes out an entire restaurant community (the scene can be seen in great detail in the trailer) is just one example of how Besson still knows his craft. And Sasha Luss also cuts an extremely appealing figure as a tough fighter. At the same time, such (action) scenes are also juxtaposed with moments of comedy that feel like foreign bodies in the context of the spy plot. Whenever we see Anna as a model, the film suddenly reminds us of fashion satires like Nicolas Winding Refn’s “The Neon Demon” – for example when the main character shows off her sleazy photographer in a scene or when we get to take a look behind the scenes of a model’s shared apartment right at the beginning . But “Anna” never achieves the narrative bite of a satire in such scenes, even if one has to admit that Besson at least risks breaking out of his usual métier here. Otherwise, he only has standard spy thriller plots for his characters. This applies both to the orders, the later entanglements between the various secret services and to the very clichéd background that he has in store for Anna. Somehow you’ve already seen all of this countless times…
Sasha Luss, always dressed in the finest clothes, appears tough in the action scenes, but still seems very insecure as an actress – and that goes beyond the characterization of her agent, who has been thrown into the deep end. The former model’s rigid facial expressions rarely allow you to see any emotion on the 27-year-old’s face; the rest of the ensemble suffers from the one-dimensional stereotypes that each of them embodies. Helen Mirren (“The Woman in Gold”) has proven in the past that she enjoys portraying supporting characters in blockbuster spectacles à la “Fast & Furious 8”. Here, however, her performance as a KGB agent with a broad Russian accent seems rattled down Business as usual. Cillian Murphy (“Dunkirk”) and Luke Evans (“Ma”) also play just as routinely, but without any hint of passion, as the script demands. The only bright spot: Lera Abova makes her acting debut here as Anna’s love interest Maud. And when she is interrogated and threatened by the CIA in a scene, her fear for herself and her true love is just as credibly written on her face as her joy about the new apartment that she will now share with Anna. It’s shocking how little life there can be in a film in which something actually happens in every scene and in which the makers have the least interest left in their characters. And that when the film even bears the name of one of them.
The film “Anna” has captivated audiences with its gripping narrative, complex characters, and a plot filled with twists and turns. As viewers reach the climax, the ending of “Anna” leaves them with a myriad of questions and a sense of intrigue. In this article, we will delve into the intricacies of the movie’s conclusion, unraveling the mysteries and providing insights into the symbolism and possible interpretations.
Before dissecting the ending, a brief recap of the movie’s plot is essential. “Anna” follows the journey of its titular character, a mysterious and skilled assassin, as she navigates a world of espionage, double-crossings, and political intrigue. The storyline is layered with deception, making it crucial to understand the events leading up to the final moments.
The Enigmatic Choice:
The ending of “Anna” introduces a pivotal choice or revelation that leaves audiences in suspense. Analyzing the protagonist’s decision or the unveiling of a hidden truth provides a key to understanding the narrative’s overarching themes and character development.
Symbolism in Visuals:
Many filmmakers use symbolism in visual elements to convey deeper meanings or foreshadow events. Examining the visual cues and symbolic elements in the final scenes of “Anna” can provide valuable insights into the director’s intentions and the thematic underpinnings of the film.
Character Arcs and Resolutions:
Character development plays a crucial role in any narrative, and the ending of “Anna” is likely to offer resolutions or transformations for key characters. Exploring how the conclusion impacts the arcs of central characters adds depth to the analysis and helps viewers comprehend the significance of their journeys.
It’s not uncommon for movies to intentionally leave certain questions unanswered, fostering discussion and interpretation among viewers. Identifying lingering questions in the wake of “Anna’s” conclusion and speculating on possible answers can engage audiences and contribute to the overall enjoyment of the film.
Understanding the filmmaker’s intentions is paramount in interpreting any movie’s ending. Analyzing interviews, directorial choices, and behind-the-scenes insights can provide valuable context and shed light on the creative decisions that shaped the conclusion of “Anna.”
Audience Reactions and Theories:
The reception of the movie’s ending by audiences can offer diverse perspectives and interpretations. Exploring fan theories, online discussions, and reactions to the conclusion of “Anna” can reveal the varied ways in which viewers perceive and make sense of the film’s enigmatic ending.
“Anna” concludes with a deliberate air of mystery, inviting audiences to ponder and discuss its implications. By exploring the plot, symbolism, character arcs, and the director’s intent, viewers can gain a deeper understanding of the movie’s enigmatic ending. As the cinematic landscape continues to evolve, films like “Anna” challenge audiences to engage with narratives in nuanced and thought-provoking ways, leaving lasting impressions that extend well beyond the final credits.
Luc Besson thinks big, but ultimately tells a story that has been seen on screen dozens of times. The filmmaker gets tangled up in details and ideas that make his action thriller seem like an uncoordinated hodgepodge, but never like a well-rounded film. Apart from the costumes and some elaborately staged action scenes, the only thing left in the end is great disillusionment.
“Anna” can be seen in USA cinemas from July 18th.