Zina (1985)

Zina, the daughter of Leon Trotsky by his first wife, is undergoing freudian analysis in Berlin in the 'thirties. Meanwhile Trotsky is in exile in Prinkipo having been driven from power by ... See full summary »

Director:

Ken McMullen

Writers:

Terry James, Ken McMullen

Stars:

Ron Anderson, George Antoni, Micha Bergese

6 wins & 1 nomination.

Cast

Credited cast:
Ron Anderson
George Antoni	...	Andre Breton (as George Yiasoumi)
Micha Bergese	...	Molanov
Gaby Dellal	...	Stenographer (as Gabrielle Dellal)
Paul Geoffrey	...	Lyova
Domiziana Giordano	...	Zina Bronstein
Eleanor Greet	...	Stalin's Agent
William Hootkins	...	Walter Adams
Georges Levantis	...	Kharalambos
Philip Madoc	...	Leon Trotsky
Ian McKellen	...	Kronfeld
Leonie Mellinger	...	German Stenographer
Maureen O'Brien	...	Natalya
Dominique Pinon	...	Pierre
Tusse Silberg	...	Jeanne

Storyline

Zina, the daughter of Leon Trotsky by his first wife, is undergoing freudian analysis in Berlin in the 'thirties. Meanwhile Trotsky is in exile in Prinkipo having been driven from power by Stalin. The Nazis rise to power in Germany and Austria and Zina commits suicide.

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Plot Keywords:

independent film | character name in title

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Genres:

Drama

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Details

Country:

UK

Language:

English

Release Date:

July 1986 (USA)

Filming Locations:

Berlin, Germany

Company Credits

Production Co:

Looseyard Productions

Technical Specs

Runtime:

92 min

Sound Mix:

Dolby

Color:

Black and White Color

User Reviews

McMullen credits

ZINA is one of McMullen's best films because of Domiziana Giordano's acting and Loftus' photography. McMullen has a terrible habit of not giving credit to his crew members and that is completely unprofessional in the business. He makes the same mistake on the film GHOST DANCE. It is an oversight that the filmmaker needs to sit down with his psycho-analyst and figure out what his problem is... the oversight is unforgivable.

Obviously influenced by one of the greatest filmmakers in the history of cinema and brilliant transcendental visualist Andrei Tarkovsky and borrowing Giordano after the Russian's (Belarus) striking Italian internal landscape film NOSTALGHIA where Giordano puts in a fierce and commanding performance, McMullen hoped to capture the internal emotional and psychological state of Trotksy's daughter. What McMullen lacks in narrative abilities, he makes up for with a strong sense of visual juxtaposition