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Critics Consensus: Magical and morbid, Antonia picturesque landscapes and proficient performances elevate a somewhat pedestrian parable.
Critic Consensus: Magical and morbid, Antonia picturesque landscapes and proficient performances elevate a somewhat pedestrian parable.
All Critics (47) | Top Critics (20) | Fresh (32) | Rotten (15)
Antonia is a work of rare lyricism. It glows with the light of a Flemish painting and the spirit of magic realism.
Antonia's Line is enjoyable because it is never preachy. It depicts, with a painterly eye, a pagan world that has not changed since Breughel.
The performances are modest and appealing. In the title role, Van Ammelrooy projects a remarkable combination of optimism, strength and resignation.
It glides so easily over a multitude of events and characters that we're never jarred; Antonia and Bas make a winning alternative-community grandma and grandpa.
I didn't much take to this humorless, Oscar-winning 1995 feminist fable.
Beautiful, tender, hearty and poetic.
[Antonia's Line] ultimately evolves into a familial epic covering three generations of independent women. It is fine storytelling.
It's a broad historical saga of great warmth, but it would have been more convincing if it didn't have "feminist agenda" stamped all over it.
There are a few moments of grating sentimentality, but these are balanced with a quirky humour and a mildly daring unpredictability.
The movie is so pastorally lovely to look at, its characters so likable and its lulling rhythms so soothing that it's easy to forget that it's a lot of pleasant, plotless hooey.
A hamfisted feminist parable.
Antonia's Line perfectly fits the Oscar mold: set in the past, studiously PC, sentimental, multigenerational, and loaded with hollow ruminations on the nature of life, death, and the passage of time.
Antonia's Line is a quirky and whimsical story of Antonia with themes on love, family, and community that also gently explores topics on feminism and independence. Emotionally engaging, pleasant, and precious masterpiece. Remarkable.
Super Reviewer
A woman recalls her entire adult life on her deathbed. This film is way too expository, relying almost solely on narration to tell the story. It's not really a film because it uses almost none of the elements inherent to film; rather, it's a short novel with pictures and actors. A perfect example of the film's flaws is the impact of the second rape scene. Out of the blue, we hear that a character has been raped, and then we see Antonia's response to it, taking a gun and kicking the rapist out of town. But this sequence, ripe with emotional resonance, has almost no impact on the audience because there wasn't an adequate set-up, so that we can feel suspense and fear for the victim, and there wasn't any visual, graphic or implied, that allowed us to see the result of the crime. The sequence becomes mere Cliff's Notes, and the same problem pervades the entire film. And the titular character is almost a minor role. I'm surprised that the film didn't center around her and the other interesting character, "Crooked Finger," more. Overall, Antonia's Line is like the connective tissue of a Victorian novel, over-narrated, maudlin, and unspecific.
One of the most wonderful generational pictures that I have been witness to. Not just a "womens' film"
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