A shattering story of a troubled relationship, Ana, Mon Amour is a strong film to stomach but one which looks personal and societal malaise straight in the eye, and thus very much worth your time. So far so good, but the problem is that Ana suffers from severe anxiety and its possible causes may be of the most serious kind. Paul does more than humanly possible to support her, and when she seems to finally get better, Toma gets worse, and the fractures in their marriage are too deep to mend. The biggest question here is the sometimes blurry line between love, codependency, and neediness, a question which permeates all relations in the story.
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A shattering story of a troubled relationship, Ana, Mon Amour is a strong film to stomach but one which looks personal and societal malaise straight in the eye, and thus very much worth your time. So far so good, but the problem is that Ana suffers from severe anxiety and its possible causes may be of the most serious kind.
Paul does more than humanly possible to support her, and when she seems to finally get better, Toma gets worse, and the fractures in their marriage are too deep to mend. The biggest question here is the sometimes blurry line between love, codependency, and neediness, a question which permeates all relations in the story. Unfortunately, Ana, Mon Amour is not as satisfying although the actors and the technical package are perfect.
While its parts are often very good, the sum fails to keep the audience continuously engaged, especially emotionally. Simply put, it lacks the drive of his previous effort and its clear focus. The story is told in episodes, shifting constantly between different moments in time, which may explain the difficulty of keeping an emotional and narrative pull.
Netzer is also aiming very high with the picture, tackling not just one but a few hot potatoes, from mental illness to psychoanalysis, to familial relations, different forms of abuse, and religion also in its institutional form.
Netzer stated in an interview that he decided to tell the story from the perspective of the male protagonist, but even so, by keeping Ana reduced to her fits and problems, we can only assume what makes him act and feel the way he does, which may be validated by the story's development, but still makes for a somehow incomplete picture of a relationship this long and all-consuming. Just like with this moment, the things Ana, Mon Amour does get right, though, are spot-on.
And this includes the main reason I recommend it, namely its clear-eyed look at contemporary Romania and some of its most pressing problems. Both Diana Cavallioti as Ana and Mircea Postelnicu as Toma are fearless in their portrayal of emotional and physical intimacy, and they are backed by a flawless supporting cast including the always scene-stealing Vlad Ivanov as an alcohol-whiffing priest who nevertheless delivers the only really sane advice to the tormented Toma.
The cinematography is also excellent. Ana, Mon Amour is playing in cinemas throughout the country and you can check the cities and running times at cinemagia. You can also have a look at the trailer below. Ioana Moldovan. By Ioana Moldovan, columnist. Your browser does not support iframes, but you can use the following link: Link.
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Luminita, mon amour
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Luminiţa, mon amour
Luminita, Mon Amour
The award went to film editor Dana Bunescu. The production has been in Romanian theatres as of March 3rd, shortly after its international premiere. We asked Cezar-Paul Badescu how he felt after the first screening. The film spins the yarn of a story which is completely different from that of the novel. Filmmaker Calin Peter Netzer opted for a different approach, he chose to pursue something different from what I was interested in my novel. In earnest, the basic storyline is the same. It took a long time to shoot the film, rehearsals also took a very long time, about three months, and everything was so intense that I felt each and every scene as if they were my life.
Luminița, mon amour
Following up his Golden Bear winner Child's Pose with this Silver Bear—winning entry for outstanding artistic contribution , Calin Peter Netzer's latest, Ana, mon amour , delivers a deep analysis of relationships and the ties that bind… and the things that break them apart. Told in non-chronological fashion, Ana, mon amour traces the rise and fall of the tumultuous and passionate romance of Toma Mircea Postelnicu and Ana Diana Cavallioti. We first meet the couple as university students in love. It is along Toma and Ana's physical and emotional bond that Netzer weaves his film's narrative threads. At the first sign of Ana's debilitating anxiety attacks, Toma's protective instincts kick in and he safeguards her and their relationship from external threats.