The film, Anita B., directed by Roberto Faenza and based on Edith Bruck's novel, Quanta Stella Cè' Nel Cielo, shares the story of Anita, a young Hungarian Jewish girl who survived Auschwitz. The film follows Anita as she experiences a different type of isolation and confinement in the home of her Aunt Monika, in the Czechoslovakian town of Zvikovez. While Monika, Monika's husband, and her husband's younger brother, Eli, all strive to erase all memories of the past few years from their minds, Anita resolves to never forget anything, particularly memories of her parents, who were killed in front of her at Auschwitz. Anita is also restricted to Monika's apartment for months because she lacks the proper documentation to live in Czechoslovakia. Despite this confinement, Anita proves herself to be both creative and true explorer through the scenes she paints on her baby nephew's walls, journeying, and in the few times that she ventures out of the house. Indeed, Anita spends much time telling stories form her life to her small nephew. However, Anita's sense of self is challenged by her romantic relationship with Eli. Their relationship climaxes when Anita discovers that she is pregnant. Despite Anita's wishes, Eli forces her to go to Prague to have an abortion. However, the doctor in Prague realizes that Anita wants to keep her baby and does not perform the operation and instead gives her his doctor's fee. The doctor's protection and support of her choices seems to ignite Anita's confidence and motivation: she runs away from Eli and searches out a friend in Prague who acts as a 'ferrywoman' for refugees who wish to travel to Palestine. The film ends as Anita travels to Palestine, describing her passage as "a journey to the past with only one piece of baggage: the future".
Anita B. is one of the few films that examines the aftermath of the Holocaust, relative to the numerous films that take place during the Holocaust. While watching the threads of the story weave together, one finds oneself entranced by the smallest gestures, micro-expressions, and awkward conversations of the characters. These exceptionally human interactions bring a humble truth to the film. The breathtaking cinematography, thoughtful performance by the actors and actresses, and articulate screenplay pull the viewer into the heart of the story and force the viewer to perform a certain level of introspection. Indeed, the poetic last line of the film not only serves as the realization of Anita's independence and courage as a human being and also as a woman but also speaks to the responsibility the viewer of the film, as a participant of the story. More specifically, the viewer's responsibility as a witness of history; to remember, that as we move into the future, we must not allow the violations of human rights, loss of human life, and oppression of the holocaust to repeat again.
Anita B. is one of the few films that examines the aftermath of the Holocaust, relative to the numerous films that take place during the Holocaust. While watching the threads of the story weave together, one finds oneself entranced by the smallest gestures, micro-expressions, and awkward conversations of the characters. These exceptionally human interactions bring a humble truth to the film. The breathtaking cinematography, thoughtful performance by the actors and actresses, and articulate screenplay pull the viewer into the heart of the story and force the viewer to perform a certain level of introspection. Indeed, the poetic last line of the film not only serves as the realization of Anita's independence and courage as a human being and also as a woman but also speaks to the responsibility the viewer of the film, as a participant of the story. More specifically, the viewer's responsibility as a witness of history; to remember, that as we move into the future, we must not allow the violations of human rights, loss of human life, and oppression of the holocaust to repeat again.