A Review of the 2019 Film 'Anna': A Critique and Analysis

The 2019 film 'Anna' directed by Luc Besson is a Soviet-era spy thriller that many viewers might find strikingly familiar, evoking a sense of déjà vu reminiscent of Besson's other works such as 'Nikita'. However, while the audience may enjoy the visuals and the action, the film's technical inconsistencies and flawed narrative structure hinder its overall appeal. In this review, we delve into the major criticism of 'Anna', focusing on its timeline and technological inaccuracies, as well as the overdone narrative tropes that likely contribute to the film's shortcomings.

Confusing Timelines and Technological Inconsistencies

One of the most significant criticisms of 'Anna' is its confusing timeline and technological inaccuracies. Besson seems to have attempted to recreate a Cold War era spy film, but the execution is perilous and often unrealistic. The film's inconsistent time jumps and timelines can be bewildering for the audience. For instance, the flashbacks and flashforwards span bizarre intervals such as 6 months ago, 3 months later, 3 years earlier, and 1 year later. This haphazard approach to time could have been enhanced with more specific date references, making the narrative flow smoother and more believable.

Further fueling these inconsistencies is the film's portrayal of technology. In 'Anna', characters are seen using outdated phones like Nokia and Motorola, which are characteristic of the early 2000s. As someone who grew up surrounded by limited technology, I can attest that such technologies became widely available only at the end of the 1990s or early 2000s, far from the supposed setting of the film in the 1980s to 1990s. This anachronistic depiction is obnoxious and detracts from the film's credibility.

The juxtaposition of advanced technology with a setting in 1985 is also jarring. For instance, the inclusion of a laptop and mobile devices, which did not exist until the late 2000s, is another poor decision. At a crucial moment, the film even features Anna leaving a message with a webcam, a device and concept not invented until the 2000s. The wireless internet and USB drives are also anachronisms, as they were not widely available until years later. These elements disrupt the viewer's immersion and break the tension of the film, highlighting the filmmaker's failure to accurately portray the period.

The "I Seen This Before" Storyline

Another major criticism of 'Anna' is its reliance on familiar narratives. The storyline's predictable nature and the clichéd plot points, such as the drug addiction subplot, are reminiscent of other films and can be tedious for audiences. Besson's tendency to recycle plot devices and archetypes is not a new issue, as critics have pointed out similarities to his other works. The audience's sense of déjà vu is amplified by the repetitive and overused tropes, making the film feel derivative and less engaging.

Furthermore, the disjointed narrative structure exacerbates the issues. The film attempts to blend an espionage thriller with a personal drama, but the seamless integration is lacking. The scenes often feel disconnected, leading to confusion and a lack of coherence. The story's focus on a protagonist who is a former KGB agent evokes the tones and themes of 'Nikita', but the execution falls short of delivering the emotional impact that such a premise could potentially yield.

Conclusion

The 2019 film 'Anna' fails to fulfil its potential due to its confusing timelines, anachronistic technology, and overused narrative tropes. While the film tries to recreate the atmosphere of a Soviet-era spy thriller, the execution is hampered by inconsistencies and flaws. Luc Besson's ambitious attempt to balance espionage suspense with personal drama does not succeed in creating a gripping and immersive experience for the audience. Instead, it leaves viewers feeling frustrated and disoriented, taking away from the potential for a thrilling and thought-provoking film.

For fans of retro spy films, 'Anna' may offer some thrills and a few surprises, but until the technical and thematic inconsistencies are addressed, it will struggle to captivate the broader audience. Until then, the film remains a cautionary tale of the pitfalls of poorly executed period pieces and overfamiliar narrative structures.

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