Anna is the newest action movie by French auteur director Luc Besson and my full review is now live at The Beacon. The creator of Leon: The Professional and La Femme Nikita, among others, has helped him build a reputation for deeper storytelling while also paying attention to style and the craft of film making. This approach is clear in Anna, where Besson makes the risky move of casting real-world Russian super model Sasha Luss in the title role. It works.
Besson doesn’t pull back on the action sequences nor the femininity of the emotionally traumatized titular character. The fight choreography is impressive because of its physicality as well as its calibration to the physique and mental state of the lead character. Anna never transforms into a buff, physically trained fighter. This is critical for the plot and the character.
Film critics have not been kind to Anna in their reviews, but audiences clearly enjoy it — as I did. I find it odd that the critics’ major hit against Anna appears to be that Besson doesn’t seem to add anything new to the genre. But some of these critics haven’t found similar faults with franchise films in such series as Mission Impossible, Jason Bourne, or John Wick. Besson’s character. The story in Anna is more nuanced than these other films. The layers were clear to me in the way Besson builds the arc of the character, the time jumping through the story, and the nuanced choreography of the martial arts sequences. (Sure, the fights are excessive. But that’s a staple of Western action films.)
My full review is now live at The Beacon, the blog of the Independent Institute.
