Anna Maria begins as a regressive caricature (she gauges her self-punishment periods with an egg timer), but through the physical humiliations and flagellation and battles with her emasculated husband's awakening Islamic ire, she emerges in four full dimensions, a woman at odds with the world and in love with an illusion. Though we're never allowed a close-up, Hofstätter's performance comes off as an unselfconscious tour de force, painfully real and culturally lost.
Michael Atkinson
August 21, 2013