gives you a reason to appreciate independent films, storyline and acting not specialeffx

Diane Keaton, Sissy Spacek, and Jessica Lange in Crimes of the Heart (1986)

Lothaire Bluteau in Jesus of Montreal (1989)

Isabelle Adjani in Camille Claudel (1988)

Vanessa Redgrave, Christopher Reeve, and Madeleine Potter in The Bostonians (1984)

Michelle Pfeiffer, Dennis Haysbert, and Stephanie McFadden in Love Field (1992)

What Have They Done to Your Daughters? (1974)

Sir, if you don't mind would you let me do improvisation on the text. I'm not very good talking about my sex life.

Sally Kirkland and Paulina Porizkova in Anna (1987)

Sally Kirkland, Paulina Porizkova, and Robert Fields in Anna (1987)

Paulina Porizkova and Robert Fields in Anna (1987)

Sally Kirkland

Paulina Porizkova

Robert Fields

Yurek Bogayevicz

Agnieszka Holland

Anna, an aging Czech movie star, comes to NYC struggling to establish her career. When she meets a beautiful, young peasant girl, she teaches her the ins and outs of acting, only to have the young girl become a screen star instead.

Anna

Compelling portrait of Czech emigre theater people in New York, and the trickiness of memory.

&quot;Anna&quot; is the movie with perhaps the greatest disparity between my opinion and everyone else&apos;s, so seems appropriate for my first comment on IMDb.

Anna (Sally Kirkland) was a legendary actress in Czechoslovakia, and in New York suffers a career in shabby productions with avant garde or artistic pretensions. Krystyna (Paulina Porizkova), an immigrant from Czechoslovakia with acting aspirations, spends her first days on the streets of New York searching for Anna, fainting from hunger virtually on her doorstep. Anna takes her in, and they become intimate friends.

Porizkova&apos;s Krystyna is as compellingly ambitious and wily as any of Werner Herzog&apos;s roles -- and this in an area calling for a subtler social sense. Krystyna seems not to be Anna&apos;s daughter, given up for adoption at a young age. But the malleability of memory -- Krystyna&apos;s in an obvious way, though perhaps also Anna&apos;s -- is treated more interestingly than in some of Agnieszka Holland&apos;s better known movies, such as &quot;Olivier, Olivier&quot; or &quot;Europa, Europa.&quot; Almost as interesting as some real life cases: The erstwhile mental illness &quot;fugue&quot; comes to mind (see, for example, the Times Literary Supplement, 16 July 1999; as this is a movie database, I&apos;ll also point to &quot;Paris, Texas&quot; for a portrayal of the phenomenon). So does the case of Benjamin Wilkomirski. I could but won&apos;t extend this list.

On the negative side, the description of Jewish life in New York is a mixture of inappropriately projected Christian norms and condescension (maybe due to unfamiliarity, or laziness of imagination).

"Anna" is the movie with perhaps the greatest disparity between my opinion and everyone else's, so seems appropriate for my first comment on IMDb.

Anna (Sally Kirkland) was a legendary actress in Czechoslovakia, and in New York suffers a career in shabby productions with avant garde or artistic pretensions. Krystyna (Paulina Porizkova), an immigrant from Czechoslovakia with acting aspirations, spends her first days on the streets of New York searching for Anna, fainting from hunger virtually on her doorstep. Anna takes her in, and they become intimate friends.

Porizkova's Krystyna is as compellingly ambitious and wily as any of Werner Herzog's roles -- and this in an area calling for a subtler social sense. Krystyna seems not to be Anna's daughter, given up for adoption at a young age. But the malleability of memory -- Krystyna's in an obvious way, though perhaps also Anna's -- is treated more interestingly than in some of Agnieszka Holland's better known movies, such as "Olivier, Olivier" or "Europa, Europa." Almost as interesting as some real life cases: The erstwhile mental illness "fugue" comes to mind (see, for example, the Times Literary Supplement, 16 July 1999; as this is a movie database, I'll also point to "Paris, Texas" for a portrayal of the phenomenon). So does the case of Benjamin Wilkomirski. I could but won't extend this list.

On the negative side, the description of Jewish life in New York is a mixture of inappropriately projected Christian norms and condescension (maybe due to unfamiliarity, or laziness of imagination).

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