Chaotique Ana

You know how sometimes a movie really reminds you of another movie you saw, not because of obvious reasons such as plot similarities, duplicated characters, suspiciously identical quotes etc. but because of another reason, a little less evident but existent nonetheless. I associate Chaotic Ana with "Stealing Beauty", a romantic drama by Bernardo Bertolucci that made Liv Tyler a household name. seemingly one has to be slightly hallucinated to associate Stealing Beauty with a fantasy/occult movie and like I said earlier, the reason is subtle but it still exists. Ana (the mind-blowingly beautiful Manuela Vellés in a good performance) is a painter who lives with her father in a cave (seriously, an actual cave) when one day, she is spotted by an artists' patron (Charlotte Rampling ) who immediately identifies her talent and asks her to join the artists greenhouse she runs in Madrid. Ana who is very close to her father is a little reluctant at first but ultimately decides to cultivate her passion for art, preferably in a modern day dwelling. Ana is acquainted with other artists that share her artistic vision and propensity to avoid coherent statements (I will elaborate about that later on) but one man draws her attention, Said (pronounced Sa-Id), an enigmatic painter who grew up in a rural area of a north African, trauma ridden, country. How he got from there to the artists' house is anyone's guess. Ana and Said fall in love and conduct a passionate and highly explicit romance. One day, though, Said disappears for no reason. At the same time, Ana discovers that her dreamless sleep and peculiar visions originate in a startling fact in her past. To avoid spoilers, I will not elaborate too much on that fact but like I stated earlier, this movie deals with the occult so if you hate the sixth sense because you're too old to believe in ghosts, this movie is probably not your cup of truffles-juice (no tea in this movie, it's way too normal to be consumed)

Ana, aided with the French patron and an American "occult professional" (Asier Newman Who unfortunately, struggled too much with his coarse Spanish to give a good performance), decides to search her destiny in light of these revelations. These revelations are abundant with cultural references, Flashbacks, scenery shots etc. but they all lack one crucial ingredient- sense.

Sense is usually a missing ingredient in the films that deal with the occult but the sense I refer to is not the fact oriented sense. It's the sense of the characters state of mind and disposition that makes them genuine. The endless theories about the nature of men and women might seem offensive to some or ridiculous to others but to me they seem the clear cut symptom of the film's artificiality. Hearing the characters lay out their philosophies, listening to them converse, and watching them react to certain situations, make you wonder in what bizarro world this code of conduct is considered common or even acceptable. And if that's not sufficient enough to depreciate the film's cinematic worth, the blunt and redundant sex scenes as well as the stereotypical background stories deteriorate the film to good guys/bad guys dichotomy usually common in Road runner cartoons. By "stereotypical stories" I mean the stories that are too clichéd and metaphorical to be authentic, for example: Said that was abducted from his family by soldiers, Ana's friend, Linda that was abandoned by her father, the encounter American official who "made" the war (no, I don't know what that means either) and the list goes on and on.

I feel a bit reluctant to criticize a film that was made from such a personal and painful viewpoint (the director made this movie in his deceased sister's memory and incorporated her paintings throughout the film). I can't think of a more difficult task to translate personal loss to the big screen. I have no knowledge or skill to determine whether the character of Ana is based on Hulio Medem's deceased sister but I can say with a great deal of confidence that the world depicted in this movie doesn't fit to the planet we all live in.

If you recall (which I doubt it), I mentioned that this film reminded me of Stealing beauty, Liv Tyler's big breakthrough. That film was highly acclaimed at the time so I rushed to see it and ended up bitterly disappointed. I believe that many critics who wrote in glowing terms of Stealing beauty's behalf, spent the movie mesmerized by Liv's infinite charm and sex appeal and overlooked the film's overall qualities. Manuela Vellés has the same undefinable quality and I can only assume her name will be known to many in the future.

Hopefully in more coherent films.

4 out of 10 in my FilmOmeter.

Chaotic Ana is Julio Medem's ode to the female and the myths of the motherland. Despite some bloody and shocking scenes, is also an ode against male violence, wars, and those individuals who starts them; however, the film also shows a blind faith in the good of human kind, despite the tragedies and havoc that we create and surround us. Moreover, Chaotic Ana is both a reflection on death and the void left by the departed - Medem's tribute to his late sister Anne. The film is also an invitation to see Art as a form of individual expression, a timeless biography of the living, and a living legacy of the deceased.

In his odyssey of discovery of The Female, Medem takes us from the cave to the skyscraper, with the ocean as an element of continuity.

This is a very intimate, personal film that touches universal themes and myths(from Oedipus and Electra to primitive matriarchal mythologies) to share personal experiences, feelings and ideas that relate to Women and the Female.

The editing is complex and very dynamic. Every single small detail in the film has an intrinsic connection with the story, is part of it, not as an object, but as object that conveys meaning. I especially liked some of visual shows shown in the House of the Artists.

The film continuously unsettles the viewer. However, the violent, shocking and sex scenes have a purpose within the story.

The actors are all OK in the movie. But this is not a movie for the actors to shine, but a movie in which the script, the story, is what matters. The actors are here just as Medem's "mediums". In fact, Medem has curated this film to the smallest detail.

You cannot watch this movie as if you were watching a normal movie, not in the same mood, or with the same intention or attention. This film requires of you 1/ A willingness to let the odd, the chaos and surprise express themselves freely. 2/ To embrace Medem's personal story being shared with you. 3/ An attention to the detail. 4/ Have into account that this film is personal as it is related to the figure of Medem's late sister, who was also a remarkable painter, and that many of the references and scenes in the film are related to her.

Movies like this are a challenge for the viewer and are never popular or highly rated. But this is just a sign that most people don't watch movies, just see them.

Many people said that "Caotica Ana" had sunk in its own chaos. Well, I don't demand from films a straightforward narrative, I think that the stream of consciousness, the poetic, the surrealistic can be much more powerful, emotional, than a story told in conventional fashion. I've liked a lot "Lucia y el sexo" - It was so beautiful that it took my breath away, and when I tried to write about it in IMDb I just couldn't.

Now, "Caotica Ana" .... as a whole it's a mess. In his homage to his sister Ana, Julio Medem invokes the sea, the sun, reincarnation, the tragedy of Western Sahara etc... Many different ingredients were put into this soup, but in what concerns the taste... Some scenes are beautiful and moving, but other scenes feel like nothing. The film is like a mind game (from reason, through reason, to Emotion) - many situations and elements seem to have been arbitrarily inserted.

I don't care so much for logic and I was expecting with "Caotica Ana" an audio-visual-emotional trip (the beautiful Ana in different times and places, the sea, the sky. What could possibly go wrong?), but I was disappointed in this regard. Anyway "Caotica Ana" is a very personal film. It's different from anything you may find in your local DVD rental store. Give it a try if you want.

This movie feels like a passionate dance, full of emotion, adventure, highs and lows, life and death, love and abandonment. It is about hypnosis and the past lives of the main character Ana. It is about the masculine and feminine. About war and violence, sexuality and love. A unique and artistic movie, I love it.

The last scene was a bit weird for me, but I think it is not a scene to take literally, but with a deeper, almost archetypical meaning.

Ana feels somewhat archetypical to me, like the sensual, passionate, free, open feminine. Really good actress, I love her facilial expressions, her deep emotions, the way she looks and how free-spirited she is.

I saw this last month at the Palm Springs International Film Festival. The premise of this film was done before back in 1968 in the film Candy. You take a lovely nymph-like girl with a lot of hair and a beautiful body and build a series of disjointed, ridiculous sketch-like stories around her with the help of a big name actor or two and pretend it's a comedy. This film does the same except it pretends to be a drama. The films title character Ana (Manuela Vellés) is a gifted young artist living with her father Klaus (Matthias Habich) in a cave near Ibiza, Spain. Yes, they live in a cave but it's quite nice and richly appointed for a cave dwelling. Newcomer Vellés almost didn't have the role as it was originally attached to actress María Valverde who wisely bowed out and you can only imagine if it was her refusal to do a certain scene in this film. One day a wealthy art patron from France named Justine (veteran international talent Charlotte Rampling) discovers the artistic potential in Ana and wants to cultivate her talent by setting her up in her exclusive art colony she runs in Madrid. Ana meets Linda (Bebe Rebulleto) who becomes her best friend and Said (Nicolas Cazalé) who becomes her boyfriend. Ana discovers the doors to past lives through regressive hypnotism by an young American hypnotist named Michael (Asier Newman). The movie has you hooked for a while and you wonder where it's going to go but once she heads for New York it rapidly falls apart as a film trying to hard to be an art film with a political and social message. The film looks great with art direction by Montse Sanz and cinematography by Mario Montero and direction from the talented and celebrated, international film festival award winning Julio Medem. The film is dedicated to Medem's sister Ana Medem whose actual artwork are featured through the film. Her Picassoesque style painting were to be shown at an exhibit in Valencia when on her way there she was tragically killed in a car accident. I hate to be critical of a film dedicated to someone who represents such a personal loss to it's director but the story written by director Medem is so bad that I can't help it. Watching this film you realize that this guy knows how to make a film but you wonder why he didn't make one this time. It features some nudity and some prolonged unnecessary violence and I would give this a 5.5 out of 10 and not recommend it to a general audience.