This film begins with a vivacity that draws you in. I hunted to find meaning in each moment of the first half of the film, ecstatic with the aloofness that the director presents to us. As the film progresses and becomes more concerned with the progression of plot, it stumbles and runs out of energy. A certain miss, despite some great efforts and and good eye by Valerie Massadian.
Very foreign... many questions left unanswered. It's almost better not to ask at all, becoming (for me) essential to the appreciation of this film. Or perhaps asking without expecting an answer. Beautifully portrays life in its most beautiful, most peaceful, most tragic, and rawest of ways in a short 68 minutes. This child actress is a really special person, which becomes apparent. Good film for a change of pace.
NANA worked for me even though I had to back it up twice to see if I had missed something. I hasn't. Throughout the film I was reminded of another film called PONETTE (1997) by Jacques Dillon. "Ponette" is another 4 year old girl who loses her mother in a car accident. The films are very much alike.
Poor film! I'll put the animal torture to the side. There is no detail to the mother whether she abadons the child, if she has gone crazy or if she is dead! Or is it one of them films where you have to sleep on it or watch twice to get it! Cant be bothered to watch again.
Beautiful & simple. NANA seems content to make its audience bear witness to a slowly unfolding tragedy. No substantial questions are posed or answered. Several times Nana's existence is likened to that of a pig doomed for slaughter, an animal that cannot comprehend its fate or the forces that determine it. As a quiet, patient portrait of a mother's despair and the unexpected resilience of a child, NANA works.
As an urban person very far from where the sausage is made; I found the farmer relation to the pigs interesting. Found myself relating to Nana in her various relations with animals in the film. Endearing. I think the description and the other reviews give you a clear enough picture regarding if Nana would be an enjoyable watch for you.
I don't think that the length of the movie helped its development: as the stark minimalism surrounds us, maybe pointing out that we should concentrate on Nana and Nana only, I'd say it's fairly easy surrendering to boredom. Fortunately, I've broken this barrier and got myself a decent enough twist. The answers we do not have, leaving us alone to our own thoughts, are this film's greatest asset.
In a way I've only seen done by Tsai Ming-liang, Massadian manages in a taut 60 minutes a film that is somehow both powerfully evocative and indulgently, gorgeously soporific. As if, by holding liminal space, one can come to sense what surrounds it. Did she find the child, then write the film? Or is casting just full of perfectly charming, independent, capable, headstrong, brave and lovely four year old French girls?
Remarkable first feature from director Valerie Massadian that captures the world from the perspective of a 4 year old girl living rurally in France with a single mother. Slight but poignant with an endearing and involving turn by wee Kelyna Lecomte. The still camera adds a certain verisimilitude to the images captured. Bears promise.