6.9/10
1,405
4 user 86 critic

Ana, mon amour (2017)

Toma and Ana meet as students in the literature faculty and quickly fall in love.

Writers:

Cãlin Peter Netzer (screenplay), Cezar Paul-Badescu (screenplay) | 2 more credits »

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1 win & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Mircea Postelnicu ... Toma
Diana Cavallioti ... Ana
Tania Popa Tania Popa ... Mama Ana
Igor Caras-Romanov Igor Caras-Romanov ... Igor
Carmen Tanase Carmen Tanase ... Mama Toma
Vasile Muraru Vasile Muraru ... Tata Toma
Adrian Titieni ... Psihanalist
Vlad Ivanov ... Parintele Adrian
Ioana Flora ... Irina
Ionut Caras Ionut Caras ... Bogdan
Iulia Lumânare ... Ginecolog - Simona
Mihaela Ciuchea Mihaela Ciuchea ... Asistent Ginecolog - Lia
Viorel Comanici Viorel Comanici ... Psihiatru
Alexandru Marcu Alexandru Marcu ... Tudor 5 Ani (as Marcu Alex)
Eric Buza Eric Buza ... Tudor 2 Ani
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Storyline

Toma meets Ana while they are both literature students at university, and they fall in love. Ana suffers from panic attacks and Toma follows her to every dark corner she ends up in. He fights his parents when they reject her, accepts being a father and marries her and eventually becomes her babysitter, her driver, her everything. While he appears to be in control of their relationship, in fact Toma just revolves around a woman he cannot understand, pushing himself to the limit as he tries to save her. Written by lament

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Genres:

Drama | Romance

Certificate:

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Parents Guide:

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Details

Country:

Romania | Germany | France

Language:

Romanian | Russian

Release Date:

3 March 2017 (Romania) See more »

Also Known As:

Ana, Askim See more »

Filming Locations:

Romania See more »

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Box Office

Budget:

€2,000,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
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Did You Know?

Soundtracks

Never Be Like You
Performed by 'Flume' feat. Kai
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User Reviews

 
The Relationship Hive Mind
3 March 2017 | by tributarystuSee all my reviews

Netzer's follow-up to the excellent Child's Pose (2013) shares some elements with its precursor, but takes a different angle to the emotional roots and psychological ties of family life. A complex and layered film, it is framed in the present, but plays with the chronology of events to suit its thematic anchors: how relationships shape their protagonists and create inherent tension, abiding by no morality punch- card. While pertinent and polished in its construction, I found it hard to stay connected emotionally, especially as the characters evolve elliptically and the change in their dynamic feels abrupt.

Our couple is Toma and Ana, two lovers who meet during university and, more than anything, fall into a relationship. They are both cultured individuals and complete each other well, as Ana suffers from anxiety attacks and Toma is seemingly always there to support her. The movie proceeds to take us through the usual familial meet and greets, which prove traumatic and lay the groundworks for all the ensuing/existing psychological trauma. Those scenes have a sense of caricature about them, with 'traditional' values of partner screening proving funny and harrowing at the same time. But they prove to be just pieces of an ambitious human puzzle, which ends up taking us down an exploratory route devoid of superfluous emotion.

As an aside, some people in the cinema were taken aback by the explicitness of a sex scene, which I would rather deem justified, due to the Freudian aspects of Netzer's approach - and a meaningful character- building moment.

The attention to detail in fleshing out Ana and Toma provides the characters with a lot of depth. They are, as one would say, profoundly human in their imperfections and the manner in which this comes to the surface as their relationship evolves feels very true. The movie puts psychoanalysis at its core, turning it into an indirect plot device, which sometimes looks like a black box. More important though is how Ana and Toma react to change, in particular to Ana's gradual self- empowerment (thanks to a mixture of religion and psychoanalysis), which fundamentally alters Toma's role as 'the saviour'. It all becomes a matter of identity, of shaping and losing it, as defined by relationship roles, rather than intrinsic traits. Quite interestingly, the first scene finds the protagonists discussing Nietzsche's Beyond Good and Evil - the subjugation of morality to Christian dogma and the idea that good and evil are not quite opposites. By the end of the film, the overwhelming sense of some moral misappropriation between Ana and Toma can and, perhaps, should be seen through this lens, with no clear distinctions at hand for who is in the right and who might have been wronged.

While all this is intense and fascinating stuff, the chronological structure creates a bridge I couldn't cross. On the one hand, the technical execution of the to and fro was handled well - it's impressive how different degrees of a receding hairline can create a sense of time. Although some nuances are lost, that ends up challenging the viewer and keeping him engaged. On the other hand, because of gaps in time, Ana is difficult to grasp. She becomes a completely different person, which goes so far as her accent changing, and due to the elliptical nature of the story, she also feels emotionally like a third character in the relationship. Whereas Toma is more consistent throughout, Ana is fractured, making her feel foreign and inauthentic.

This is part of the reason why the second half of the film lost some momentum. Upon its conclusion, which tries a little twist and then goes one mile too far by trying to explain it, I wasn't engaged any more. It's a shame, because there is so much pain and sacrifice in Ana, Mon Amour that it really makes love feel like penance and weaves an exquisite psychological pattern to justify the claim. For the exploration it undertakes in what drives the two lead characters, both so well portrayed by Postelnicu and Cavallioti, it is commendable.


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