Review: In 'Anna', the end of adults, but not the world

Together with cinematographer Gogò Bianchi and decorator Mauro Vanzati, Ammaniti transforms Sicily into an abandoned wonderland from a ch...


Together with cinematographer Gogò Bianchi and decorator Mauro Vanzati, Ammaniti transforms Sicily into an abandoned wonderland from a child’s perspective: a mix of carnival, reverie and limitless heaps of garbage . “Anna” evokes a tradition of the fantastic in Italian cinema, from Fellini to Paul Sorrentino, while remaining linked to its realistic action, sometimes poignant and quite violent. Other references come to mind as you watch as well: Spike Jonze’s “Where the wild things are” in forest scenes; “Alice in Wonderland” and Dickensian Wild Children in scenes set in a decaying Palermo mansion.

The show’s real theme is storytelling in its mythical and fairytale modes, and the story centers around a couple of fairy tales: a resourceful 13-year-old girl, the Anna of the title (Giulia Dragotto), and his younger half-brother, Astor (Alessandro Pecorella, in a remarkably composed performance). They live a solitary and, in this case, bucolic existence in the country house where their mother (Elena Lietti) took them before her death. The mother’s bones now rest in an upstairs bedroom as Anna makes dangerous foraging trips around town, telling Astor he will die if he ventures beyond the fence. the wooded property during his absence.

Astor eventually learns that she is lying, in a turn of events that separates the siblings and sets the story in motion. This sends Anna on a quest to find her brother, sometimes aided by Pietro (Giovanni Mavilla), a cool guy with a motorbike, and almost fatally hampered by two indolent twins locked in what used to be their family’s grocery store.

The long central part of the series takes place in a villa requisitioned by Angelica (Clara Tramontano), who is seen in flashbacks as a budding psychopath before the virus arrived. Now, she has transformed into a shaman in theatrical costume, embodying what she remembers from reality TV competitions and fashion magazines, and has gathered a flock of young children as a congregation. He’s a prepubescent, post-apocalyptic Burning Man, with occasional blood sacrifices and a stray goat. Ammaniti does well with the spectacle of children playing adulthood in the midst of decorative misery, and this is the strongest section, with the first scenes in the forest.

Not all the twists and turns of the traveling story are so interesting, and “Anna” has the opposite problem of many adaptations of current mini-series: instead of feeling stretched out, it feels like Ammaniti was trying too hard. to put. real-world pandemic, the series order has been reduced by eight episodes.)

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Newsrust - US Top News: Review: In 'Anna', the end of adults, but not the world
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