This has its flaws, but Oh! How I love fairy tales! Breillat's sexy updates have a gorgeous sensual aesthetic, and the child actors she employs are always enchanting. There are so many beautiful visuals,and a feeling of magic. I don't believe in god OR science, but I believe in magic!
This fairy tale is a bit of a relief from the usual harsh life chronicled by Breillat. It's about the loss of innocence, which in this case involves going from a princess to a young woman. This transformation leads straight back to reality, which for Breillat means harshness.
"To be beautiful one must suffer," Anastasia says. I must be fucking gorgeous then, given how much I hated this movie from start to finish. Oh, Catherine Breillat. It's always a roll of the dice with you, isn't it.
Delivering a monotonous speech in French doesn't undo the monotony. Even if you add nubile young men and maidens recently culled from the extras of Twilight. With side swept bangs and everything. I mean it's like Jodorowsky made a an ad for Seagram's gin which Breillat copied but not before her 16 year old daughter got a hold of it.
Baffling in a most enjoyable way, even when it goes into more familiar Breillat terrain at the end (which I know is deflating after what comes before, but such is life). Contains some of the best child acting I've ever seen.
Contrary to many, I found this a beautiful film. Carla Besnaïnou plays a mesmerizing Anastasia, cursed to a century-long sleep. After an aesthetically stunning dream, she awakens as a 16-year-old in modern day. It beautifully shows the dreamy innocence of childhood, and how sobering the transition to adulthood can be. Anastasia is no longer a little pampered princess, but an adult in a less-than-magical world.
Ugh, this had so much potential. I can put up with a lot of things in the name of an otherwise compelling movie, including "boring" stretches and lack of organisation. But I can't figure out what this film is trying to say. And, no, I don't think that's "the point." This seems strange coming from a director whose point of view is so strong in her best films that it smacks you in the face.