When Marleen Gorris debuted in 1982 with "De Stilte Rond Christine M." ("A Question of Silence"), she quickly became one of the most prominent and controversial feminist artists of Europe, as the unapologetic (some would say extreme) feminism of the film was seen as a very angry reaction to the women's role in society. Her next two films followed this path, and soon she was known as an interesting director to be taken seriously; although the extremism of her work and the heavy handed way she handled her subjects often diminished the true potential of her movies. In her fourth movie, "Antonia", Gorris seemed to make a big departure from her first movies, as the movie offered a more complete and humanist vision of life. It certainly was an enormous progression, not only in terms of her personal ideology, but also in terms of film-making, as in this movie she showcased her talents as storyteller like never before. The five years between "The Last Island" and "Antonia" really payed off, as this movie received the Academy Award for Best Foreign Language film in 1996.
"Antonia" is the story of well, Antonia (Willeke van Ammelrooy), a widow who returns to her home village after the World War II with her daughter Danielle (Els Dottermans), as she has received news that her mother is dying. After her mother's death, Antonia inherits the farm and along Danielle, she establishes there. And so Antonia and Danielle's new life begins at the village and, as time goes by, we witness Antonia's line to grow and develop, meeting old friends, finding new friends, and of course, gaining new enemies. The contrasting aspects of life and death, youth and decrepitude, and specially love and hate, become the key focus of the story of this community led by this strong (although often stubborn) woman. "Antonia"'s story could easily be described as the story of the growth of a woman, and the growth of her odd family through more than three generations.
Written by Marleen Gorris's herself, "Antonia" could be seen as the progression of Gorris' past works. While in the past she had portrayed the world almost as a constant struggle between males and females, "Antonia" showcases the quest for a balance between both. At its core, it is the story of Antonia, her family, and her village, growing and developing from the 50s through the 80s, and the important events in their lives; but it's also way more complex than that. It's about discovering what's important in life, and that what is important to some may not be important for others. Of course, being a Marleen Gorris' movie the relationships between male and female are of vital importance, but this time, extreme feminism is out and both genders are given a value (in an interesting change, Antonia herself must learn to love an accept a caring man). It's a clever character driven story filled with a good sense of humor, and an intelligent humanist theme.
As written above, "Antonia" also marks Gorris' evolution to more ambitious and complex films, as while the movie is entirely character driven, the whole setting and overall composition of the movie is wonderful. Together with cinematographer Willy Stassen, Gorris makes a beautiful portrait of Europe's countryside, and accurately captures the slow but constant passing of time through the village. Jan Sewell's make-up is essential to this, as his work is of a frightening realism that one truly wonders if the cast suddenly became old for real. An interesting touch is how different the movie becomes according to the characters' points of view: Antonia's scenes have a philosophical calm, while Danielle's world (as an artist) is quirky and suddenly surreal; contrasting sharply with her daughter Thérèse, who sees the world in a cold, distant and overtly scientific way.
The many characters of the film are borough to life by an ensemble of both experienced and newcomer actors. Willeke van Ammelrooy is excellent in the main role as Antonia, a difficult one as her character is the one whose own personal growth becomes the basis of the rest of the film. Els Dottermans showcases her beauty and talent as Antonia's daughter, Danielle. While not the focus of the movie, her character plays a very important role in the story, and Dottermans plays the part in a very effective way. Overall the rest of the cast is remarkable (specially considering the lack of experience of some cast members), and really make the village a place so real and alive that one can't help but fall in love with the characters. While everyone makes a good job, Marina De Graaf as Deedee and the Carolien Spoor as the young Thérèse are really highlights of the film that deserve to be noticed.
With its remarkably well developed screenplay and the warm touch of Gorris' direction, "Antonia" is truly a step forward in the director's career and an improvement over her previous work. While not a masterpiece, the movie is an upbeat movie that despite being at times emotionally manipulative, it's never annoying and really charming in its quirkiness. Critics have pointed out that Gorris' heavy handed extremism is still there, but personally I found a more mature piece of work, as if Gorris had finally exorcised her own demons and, like her Antonia, found a balance by discovering and accepting men instead of openly fighting them. Oddly, this new approach also brought criticism from Gorris' own followers, but it is in this balanced view where "Antonia"'s main strength is, as more than being a feminism movie, it is a humanist one.
"Antonia" is a joyful experience that, while not as deep as similar movies, it offers an interesting insight about human relationships; and despite not being exactly realist, raises interesting questions about love and unnecessary yet unavoidable "battle of sexes". It seems that in 1996, the Academy got it right, "Antonia" is a great story. 8/10
"Antonia" is the story of well, Antonia (Willeke van Ammelrooy), a widow who returns to her home village after the World War II with her daughter Danielle (Els Dottermans), as she has received news that her mother is dying. After her mother's death, Antonia inherits the farm and along Danielle, she establishes there. And so Antonia and Danielle's new life begins at the village and, as time goes by, we witness Antonia's line to grow and develop, meeting old friends, finding new friends, and of course, gaining new enemies. The contrasting aspects of life and death, youth and decrepitude, and specially love and hate, become the key focus of the story of this community led by this strong (although often stubborn) woman. "Antonia"'s story could easily be described as the story of the growth of a woman, and the growth of her odd family through more than three generations.
Written by Marleen Gorris's herself, "Antonia" could be seen as the progression of Gorris' past works. While in the past she had portrayed the world almost as a constant struggle between males and females, "Antonia" showcases the quest for a balance between both. At its core, it is the story of Antonia, her family, and her village, growing and developing from the 50s through the 80s, and the important events in their lives; but it's also way more complex than that. It's about discovering what's important in life, and that what is important to some may not be important for others. Of course, being a Marleen Gorris' movie the relationships between male and female are of vital importance, but this time, extreme feminism is out and both genders are given a value (in an interesting change, Antonia herself must learn to love an accept a caring man). It's a clever character driven story filled with a good sense of humor, and an intelligent humanist theme.
As written above, "Antonia" also marks Gorris' evolution to more ambitious and complex films, as while the movie is entirely character driven, the whole setting and overall composition of the movie is wonderful. Together with cinematographer Willy Stassen, Gorris makes a beautiful portrait of Europe's countryside, and accurately captures the slow but constant passing of time through the village. Jan Sewell's make-up is essential to this, as his work is of a frightening realism that one truly wonders if the cast suddenly became old for real. An interesting touch is how different the movie becomes according to the characters' points of view: Antonia's scenes have a philosophical calm, while Danielle's world (as an artist) is quirky and suddenly surreal; contrasting sharply with her daughter Thérèse, who sees the world in a cold, distant and overtly scientific way.
The many characters of the film are borough to life by an ensemble of both experienced and newcomer actors. Willeke van Ammelrooy is excellent in the main role as Antonia, a difficult one as her character is the one whose own personal growth becomes the basis of the rest of the film. Els Dottermans showcases her beauty and talent as Antonia's daughter, Danielle. While not the focus of the movie, her character plays a very important role in the story, and Dottermans plays the part in a very effective way. Overall the rest of the cast is remarkable (specially considering the lack of experience of some cast members), and really make the village a place so real and alive that one can't help but fall in love with the characters. While everyone makes a good job, Marina De Graaf as Deedee and the Carolien Spoor as the young Thérèse are really highlights of the film that deserve to be noticed.
With its remarkably well developed screenplay and the warm touch of Gorris' direction, "Antonia" is truly a step forward in the director's career and an improvement over her previous work. While not a masterpiece, the movie is an upbeat movie that despite being at times emotionally manipulative, it's never annoying and really charming in its quirkiness. Critics have pointed out that Gorris' heavy handed extremism is still there, but personally I found a more mature piece of work, as if Gorris had finally exorcised her own demons and, like her Antonia, found a balance by discovering and accepting men instead of openly fighting them. Oddly, this new approach also brought criticism from Gorris' own followers, but it is in this balanced view where "Antonia"'s main strength is, as more than being a feminism movie, it is a humanist one.
"Antonia" is a joyful experience that, while not as deep as similar movies, it offers an interesting insight about human relationships; and despite not being exactly realist, raises interesting questions about love and unnecessary yet unavoidable "battle of sexes". It seems that in 1996, the Academy got it right, "Antonia" is a great story. 8/10