The story, acting, cinematography is very strong yet it lacks something that I can't name. At the same time, it was ravishing to watch the little actress doing her own chores, playing alone, reading alone and talking to herself. These scenes were great and intimate.
Vivid scenes of the French rural life : good mise-en-scène, beautiful compositions and lighting, working situations mixed with intimate moments. Extraordinary performance (or directing) of the little girl. Particularly impressed by the repetition of similar scenes, similar experiences, which guide the little girl to cope with life.
Decent, minimal, a little disjointed but at times beautiful. I will say that I'm always skeptical of films that have to be carried by a child-actor. In this respect Nana succeeds immensely. Massadian did a fantastic job at directing the little-lead which is a worthy achievement, especially of an actor this young.
"Massadian, who worked with the child for almost two years, has coaxed a performance of remarkable lucidity. Through the stillness of her camera and the flexibility of her vision, she transforms a skeletal tale into a rich portrait of innocence poised on the very brink of awareness." - Jeanette Catsoulis, NY Times
A movie I'd like to like more than I actually did. Beautiful cinematography, good acting, thematically interesting (by which I mean the juxtaposition of the child and the baby animals, and in general the relationship between humans and animals). Lots of good things, yet the whole point seems vague, and thus even at its short length it starts to feel like the cinematic equivalent of doodling.
Massadian lures us in with a static frame that alludes to the tranquility of this monastic lifestyle, though the distress of the pig slaughter begins to suggest otherwise. For Nana the rural setting is suggestive of such idyll but it's at ends with the furious pace which her mother moves through the frame, a figure of discontent. From that we build our own narratives, and I wrongly suspected a metaphysical fable.
Simply beautiful. Even if it starts in such innocent joy and finishes under the burden of such sadness. Still think I've missed something on the way, I'll see it again with my daughter. Powerful lesson on surviving loss and grief, and the little girl's performance - astonishing.
This film begins with a vivacity that draws you in. I hunted to find meaning in each moment of the first half of the film, ecstatic with the aloofness that the director presents to us. As the film progresses and becomes more concerned with the progression of plot, it stumbles and runs out of energy. A certain miss, despite some great efforts and and good eye by Valerie Massadian.
Very foreign... many questions left unanswered. It's almost better not to ask at all, becoming (for me) essential to the appreciation of this film. Or perhaps asking without expecting an answer. Beautifully portrays life in its most beautiful, most peaceful, most tragic, and rawest of ways in a short 68 minutes. This child actress is a really special person, which becomes apparent. Good film for a change of pace.
NANA worked for me even though I had to back it up twice to see if I had missed something. I hasn't. Throughout the film I was reminded of another film called PONETTE (1997) by Jacques Dillon. "Ponette" is another 4 year old girl who loses her mother in a car accident. The films are very much alike.
Poor film! I'll put the animal torture to the side. There is no detail to the mother whether she abadons the child, if she has gone crazy or if she is dead! Or is it one of them films where you have to sleep on it or watch twice to get it! Cant be bothered to watch again.