The very rarely screened Anna plays tonight, Monday night and next Tuesday night at the Spectacle’s series “How Anna Got Her Groove Back: Karina After Godard.”
It is in part the precariousness of her circumstances as a young artist recently arrived in Paris, a transplanted ingénue in search of a job, a place, a life, a love. It is in part her particularly delicate, moodily puckered, characteristically sassy, perfectly coy handling of her character.
In part, too, it’s her eyeglasses. In part, her amusingly constant translucent raincoat.
It’s also, in part, her nearly slow-motion blinks, and her deep yet weightless sighs.
It’s her dancing about, too. And singing, too—now peppy, now pensive, now breathy, now pop.
Anna Karina, in Anna, is an absolute jewel. And there are more than two or three reasons to see her as such.
A must-see for Karina fans, of course, Anna is also, as a film, many things. If you’ve ever seen the rather extractive videos for songs like “Sous le soleil exactement” or “Roller Girl,” then you’ve seen the previews.