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समीक्षक के रिव्यू
Ana, mon amour
Călin Peter Netzer रोमेनियान, 2017
The movie reveals everything in its first scene… Under the direction of Netzer, the gifted DOP Andrei Butica shoots the beginning of a relationship in a rare, personal way, and in doing so creates an incredibly intimate and compelling set up.
February 20, 2017
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Though Netzer’s compassion is never in doubt, the fragmentation of the narrative ensures a measure of detachment which makes for balance, ambivalence and clarity; the result is an astute, illuminating and altogether credible study of what Netzer has described as “the actual impossibility of building a relationship”, reminiscent at times of Bergman films like The Passion of Anna or Scenes from a Marriage. It was one of the most ambitious, impressive and satisfying films in this year’s Berlinale.
February 20, 2017
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Especially admirable: Each friend, each doctor is a fully fleshed out human being and a particular highlight is Vlad Ivanov’s amazing turn as a priest. Andrei Butica’s camerawork is shaky but not to a distracting degree, Dana Bunescu’s editing is brisk, and overall, for all the chronological disorder, Ana, mon amour forges ahead in the mode of the severe realism we’ve come to expect from much of Romanian cinema over the past ten years or so.
February 17, 2017
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Romanian cinema takes a decidedly Bergmanesque turn with Ana, Mon Amour, an intellectually complex, emotionally harrowing dissection of the travails of a long-term relationship. Structured jigsaw-style in a series of non-chronological fragments, and featuring terrific performances from leads Mircea Postelnicu and Diana Cavallioti, Ana, Mon Amour is a jump into the realm of intimate psychology from the director of Child’s Pose.
February 17, 2017
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