Anna (1996)

Type Feature Film
MPAA Rating None
Runtime 1hr 40mins.
Genres Documentary
Keywords N/A
Status Released
US Release Date
Name Credit Credited as Role Id Sort Order
Evgueni Bazanov Sound sound mix 120816 14000001
Vincent Anardi Sound sound mix 120816 14000002
Levtchenko Elekxai Set Designer n/a 202 9000001
Edward Artemiev Music n/a 120781 8000001
Viktor Lyssak Camera cameraman 120798 6000006
Eleonora Praskina Editor n/a 172 7000001
André Rigaut Assistant Engineer n/a 120997 15000001
E Orlov Special Effects n/a 168 23000001
Nikita Mikhalkov Other from original idea 120795 26000001
Valentin Bobroski Other engineer 120795 26000002
Armand Barbault Production head of production 120824 25000002
Alexandre Balachov Production head of production 120824 25000001
S Lomov Special Effects n/a 168 23000002
Edward Guimpel Camera cameraman 120798 6000005
Vadim Alissov Director of Photography n/a 120780 6000004
Jean-Louis Piel Executive Producer n/a 174 3000002
Nikita Mikhalkov Associate Producer n/a 171 3000003
Leonid Vereschagin Executive Producer n/a 174 3000001
Nikita Mikhalkov Director n/a 2 2000001
Anna Mikhalkova Actor Herself 1 1000002
Michel Seydoux Associate Producer n/a 171 3000004
Nikita Mikhalkov Screenplay n/a 120778 4000001
Elisbar Karavayev Director of Photography n/a 120780 6000002
Vadim Ioussov Director of Photography n/a 120780 6000003
Pavel Lebeshev Director of Photography n/a 120780 6000001
Nicole Caan Production Coordinator n/a 162 5000001
Serguei Mirochnitchenko Screenplay n/a 120778 4000002
Nikita Mikhalkov Actor Himself 1 1000001
Nikita Mikhalkov began filming his six-year-old daughter Anna each year on her birthday at a time when home movies where illegal in the Soviet Union. His questions (What do you want most? What do you hate?) receive imaginative answers from the child (a pet crocodile; beet soup). With political indoctrination, Anna's greatest wish becomes "peace," her greatest fear "war." Perestroika's cataclysmic changes and Anna's more complex teenage responses are explored through newsreels and documentary scenes which record some of the outer edges to which a newly liberated people flock (e.g. a televised birthday party for a particularly flamboyant transvestite). Mikhalkov searches for the essential meaning of the lost Soviet empire, not in its pomp and slogans, nor in the rise and fall of its famous leaders, but in its effects upon the impressionable mind of Anna and, by implication, a generation who grew up under the weight of a dying order, and now look toward an uncertain but hopeful future.