Comments on: Wanda (1971, Barbara Loden)

By: Bill Andreas

Bill Andreas — Tue, 08 Jun 2010 03:51:57 +0000

Hers is not a performance of great nuance, but it also never strays into the realm of sloven proletarian caricature. She is, all in all, a woman left spiritually and psychically numb by the totality of her existence (smacked in the face at one point, it takes her a full minute before she can work up a slightly irritated â€œHey, that hurtâ€). She doesnâ€™t drift through life, life drifts through her; as if the dearest survival could only be found in the deepest passivity.
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By: Blaomn

Blaomn — Thu, 22 Oct 2009 10:37:32 +0000

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By: ElilPratap223

ElilPratap223 — Tue, 20 Oct 2009 10:10:36 +0000

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By: golfman_story

golfman_story — Fri, 15 May 2009 17:31:40 +0000

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By: AC Ajaccio » Wanda (film)

AC Ajaccio » Wanda (film) — Mon, 04 May 2009 13:04:03 +0000

[...] Shooting Down Pictures » Blog Archive » Wanda (1971, Barbara Loden) [...]

By: Shooting Down Pictures » Blog Archive » San Francisco International Film Festival - Day Two

Tue, 01 May 2007 17:10:50 +0000

[...] Karimi was assistant to Abbas Kiarostami on The Wind Will Carry Us and is an accomplished actress and filmmaker in her own right. This, her second feature, recalls a number of Kiarostamian elements, not the least being wide shots of cars driving along winding suburban roads. One moment where two women converse inside a car had me thinking of Ten, and from there my thoughts were centered on how this film was being told from a point of view different from Kiarostami’s, or rather, at the risk of sounding simplistic, a woman’s point of view. With the long silences and the willful passivity of the protagonist, a graphic designer who’s at a crossroads with her job, her friends and her disabled child, it reminded me most of all of Barbara Loden’s Wanda. A tense, quiet film that seems as seems to consider its audience as but another potential intrusion into the space it seeks to carve for its beleaguered heroine. After This Our Exile (2006, Patrick Tam) [...]

By: alsolikelife

alsolikelife — Tue, 30 Jan 2007 19:18:27 +0000

but it is the one I opted to “enjoy”! hence the dearth of analysis.

by all means check it out — and check out Reynaud’s essay on Senses of Cinema (she also writes a long essay in the liner notes of the DVD). She references Virginia Woolf a good deal so I’m sure you’ll find it of interest. What I found most interesting was the passivity of the character, reflected as well in the seemingly blank/passive gazes at the landscape and the drone of the pacing at times. Challenging, even boring at times, but by the second half I was grooving with it, and I think it’s necessary in order to really occupy the same space as this woman we’re watching. If you can’t do that then it’s likely you’ll find the character and the film off-putting and even pointless. But this need to adjust one’s frame of perception while watching seems to be the case with a number of recent films I’ve watched (VAN GOGH, L’AMOUR FOU), and even though the process can be arduous they’ve also been among the most rewarding viewings I’ve had this year.

By: jesse

jesse — Tue, 30 Jan 2007 07:09:26 +0000

Awwww… too bad this is the one you opted not to “enjoy”–I’ve been curious about this one since Film Comment brought it to my attention.