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(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)

This is an incredibly seductive movie with a strong sense of the spirit of Demeter and Dionysus throughout. There's no Hollywood glamour here. Instead we have an unabashed celebration of life ("This is the only dance we dance") in which love, community and simple hard work prevail. The simple are seen as the equal of the gifted, and everybody (except for rapists and hypocrites) are appreciated for their strengths and forgiven their faults. Intellectualism is seen as quaint and unsocial (as in the person of Crooked Finger) possibly leading to a morbid cynicism. And brain power (as in the person of the prodigy Therese) is just another talent, like being able to laugh or to bale hay or to have lots of children.

This is the Dionysian view of life that doesn't allow for Apollo, and there's a lot to be said for it. But I couldn't help but reflect that during the time span depicted in this movie--five generations in Holland during the twentieth century--Europe experienced some of the most horrific events known to humankind, two world wars, genocide, concentration camps, poison gas, fire bombings, political repression, and the death of millions of people. But perhaps that is director Marleen Gorris's point, to see life at its most elemental, locally and without the horror of war and the delusions of generals and politicians.

What's not to like about that? Well, not to rain on anyone's love-fest, but we have vigilante justice here and a murder, seemingly justified and certainly agreeable to the audience since the victim was a brutal rapist. Men are not exactly banished, but they are put in their place, serving or (literally) servicing women. What is banished is orthodox religiosity in the form of a hypocritical cleric who (with his disciples, we are told) goes to town and becomes a social worker (!).

This is also an ode to feminism and a deliberate tear-jerker that manipulates the emotions of the audience. Yet, somehow Gorris, who also wrote the script, manages not to offend my sensitivities. I think it is because the movie amounts to a very effective sermon against prejudice of any kind, and because of the gentle humanity of her tale.

You'll forgive me, however, if I say that my favorite part was the handstand! It was just perfect.

ANTONIA'S LINE continues as fresh today as when it was released and awarded Oscars in 1995. This very fine little Dutch film mocks the old adage of 'You can't go back home again' by introducing Antonia and her daughter returning to a village she had abandoned and setting up changes among the odd assortment of townsfolk that initiate a heritage of both wonderful and tragic events, each of which is a parable about family and community. The women rule here, even to the point of deciding to conceive by barter, by compulsion, and by taking arms against the macho power symbols of rape. All manner of variations of normal (spiritually possessed, moon howlers, disillusioned priests, mentally retarded, social outcasts) come under the influence of Antonia's strongly world-wise persona. The results are like a fairy tale for adults, both in content and in the wonderful visual effects. The cast is extraordinary as is the pacing of the direction. The message of this film endures - it pleads to be viewed regularly.

Grady Harp

This is a wonderful movie that shows how one woman and the people around her find happiness while rejecting the roles that society would force on them. There are good men such as farmer Bas and Simon, and perhaps even the priest in the end. This movie is not primarily about them however. It is about Antonia and her line of descendents: Danielle, Therese and Sarah. By rejecting stereotypes about the mentally ill, gay or other marginalized groups and accepting everyone for what they are, this family was able to find happiness in the face of hardship. Despite the despair of crooked finger, they prove that life is worth living. It is a complex movie. In the word of one of Therese's suitors, life is an intersection of relationships. The many relationships portrayed in this movie, most loving, some not, are what give it life and give the lives of these characters its meaning. I am a male and opponent of excessive political correctness. I was not offended in the least by this movie. The characters in it are wonderful. They happen to be mainly women, which is a refreshing change in a world where so often the female characters are only there as props for the male stars. I give it fourteen thumbs up!

For the intelligent and reflective movie-goer, there is much to appreciate about this film. To begin with, the opening narration, although fantastic, is just about the best opening line to any story out there. It immediately draws one into the world of these weird, wonderful people. And that fantastic aspect is maintained throughout the film, like a fairy tale that provides a surprise around every corner. It is a pleasure to be taken into this kind of world for the 100+ minutes of the film.

I strongly disagree with the comments, which the IMDb is currently (as of March 13/04) displaying as being "representative," which states:

"If you hold dear the innocence of children, respect God and those who serve Him, and hold dear what is beautiful in a spiritual sense, you will probably dislike this film."

That's one seriously narrow-minded opinion the IMDb people have selected as being representative. There was a time when the IMDb was more discriminating in what they allowed through to the site. That they allowed *this* posting through *and* chose it to represent the average response to the film is bad a sign; the ship is sailing but there's nobody at the wheel. Reading those comments, one could easily conclude that there are a great deal of sadly unimaginative people out there who just don't get this film.

It isn't surprising that someone with the kind of insular view of the world as expressed in those "representative" comments wouldn't enjoy this film. I never thought of it this way, but I suppose "Antonia's Line" is not for the polite, ultra-conservative, easily-offendable religious folks out there who, it seems, are more apt to feel threatened by fantastic stories like this than to appreciate them for what they are. "Antonia's Line" is the kind of story that give us permission to *imagine* how things might be if they were just slightly eschew. This film is not a picture of the real world, but, like a good fairy tale, provides one an opportunity to reflect on a variety of human conditions and experiences that everyone in some way can relate to.

In this regard, "Antonia's Line" is a wonderfully rich and rewarding film, and a beautifully well-told story.

It should not be dismissed so easily. (And the IMDb ought to get their act together.)

I found Antonia's Line to be a wonderful expression of what is endearing and enduring in the human spirit. It was a truly lovely story, clever character development, warmly delivered. I can understand how some may not understand or enjoy this film. It flies in the face of convention, but that is its beauty. Some would fear the freedoms this film demonstrates.

Love and acceptance abound, in a timeless manor. I like the way it offered a different definition of family, one where diversity is an asset, guarded by respect.

This is one of the greatest stories to come across the screen.

When Marleen Gorris debuted in 1982 with "De Stilte Rond Christine M." ("A Question of Silence"), she quickly became one of the most prominent and controversial feminist artists of Europe, as the unapologetic (some would say extreme) feminism of the film was seen as a very angry reaction to the women's role in society. Her next two films followed this path, and soon she was known as an interesting director to be taken seriously; although the extremism of her work and the heavy handed way she handled her subjects often diminished the true potential of her movies. In her fourth movie, "Antonia", Gorris seemed to make a big departure from her first movies, as the movie offered a more complete and humanist vision of life. It certainly was an enormous progression, not only in terms of her personal ideology, but also in terms of film-making, as in this movie she showcased her talents as storyteller like never before. The five years between "The Last Island" and "Antonia" really payed off, as this movie received the Academy Award for Best Foreign Language film in 1996.

"Antonia" is the story of well, Antonia (Willeke van Ammelrooy), a widow who returns to her home village after the World War II with her daughter Danielle (Els Dottermans), as she has received news that her mother is dying. After her mother's death, Antonia inherits the farm and along Danielle, she establishes there. And so Antonia and Danielle's new life begins at the village and, as time goes by, we witness Antonia's line to grow and develop, meeting old friends, finding new friends, and of course, gaining new enemies. The contrasting aspects of life and death, youth and decrepitude, and specially love and hate, become the key focus of the story of this community led by this strong (although often stubborn) woman. "Antonia"'s story could easily be described as the story of the growth of a woman, and the growth of her odd family through more than three generations.

Written by Marleen Gorris's herself, "Antonia" could be seen as the progression of Gorris' past works. While in the past she had portrayed the world almost as a constant struggle between males and females, "Antonia" showcases the quest for a balance between both. At its core, it is the story of Antonia, her family, and her village, growing and developing from the 50s through the 80s, and the important events in their lives; but it's also way more complex than that. It's about discovering what's important in life, and that what is important to some may not be important for others. Of course, being a Marleen Gorris' movie the relationships between male and female are of vital importance, but this time, extreme feminism is out and both genders are given a value (in an interesting change, Antonia herself must learn to love an accept a caring man). It's a clever character driven story filled with a good sense of humor, and an intelligent humanist theme.

As written above, "Antonia" also marks Gorris' evolution to more ambitious and complex films, as while the movie is entirely character driven, the whole setting and overall composition of the movie is wonderful. Together with cinematographer Willy Stassen, Gorris makes a beautiful portrait of Europe's countryside, and accurately captures the slow but constant passing of time through the village. Jan Sewell's make-up is essential to this, as his work is of a frightening realism that one truly wonders if the cast suddenly became old for real. An interesting touch is how different the movie becomes according to the characters' points of view: Antonia's scenes have a philosophical calm, while Danielle's world (as an artist) is quirky and suddenly surreal; contrasting sharply with her daughter Thérèse, who sees the world in a cold, distant and overtly scientific way.

The many characters of the film are borough to life by an ensemble of both experienced and newcomer actors. Willeke van Ammelrooy is excellent in the main role as Antonia, a difficult one as her character is the one whose own personal growth becomes the basis of the rest of the film. Els Dottermans showcases her beauty and talent as Antonia's daughter, Danielle. While not the focus of the movie, her character plays a very important role in the story, and Dottermans plays the part in a very effective way. Overall the rest of the cast is remarkable (specially considering the lack of experience of some cast members), and really make the village a place so real and alive that one can't help but fall in love with the characters. While everyone makes a good job, Marina De Graaf as Deedee and the Carolien Spoor as the young Thérèse are really highlights of the film that deserve to be noticed.

With its remarkably well developed screenplay and the warm touch of Gorris' direction, "Antonia" is truly a step forward in the director's career and an improvement over her previous work. While not a masterpiece, the movie is an upbeat movie that despite being at times emotionally manipulative, it's never annoying and really charming in its quirkiness. Critics have pointed out that Gorris' heavy handed extremism is still there, but personally I found a more mature piece of work, as if Gorris had finally exorcised her own demons and, like her Antonia, found a balance by discovering and accepting men instead of openly fighting them. Oddly, this new approach also brought criticism from Gorris' own followers, but it is in this balanced view where "Antonia"'s main strength is, as more than being a feminism movie, it is a humanist one.

"Antonia" is a joyful experience that, while not as deep as similar movies, it offers an interesting insight about human relationships; and despite not being exactly realist, raises interesting questions about love and unnecessary yet unavoidable "battle of sexes". It seems that in 1996, the Academy got it right, "Antonia" is a great story. 8/10

Rarely does a movie embrace life as fully as "Antonia" (also known Antonia's Line). It was the deserving winner of the Academy Award for best foreign film in 1995. Quirky, unexpected, funny, frightening, and ultimately beautiful, Antonia's line is a portrait of hope that successfully escapes being saccharine. There are moments of violence and despair, but beauty endures. It portrays 3 generations of independent women, and the matriarch of their unusual family, Antonia. Antonia left her small village before WWII and returns years later with her grown daughter. Antonia has an opinion on everything, and smiles as she points out the colorful village characters to her cosmopolitan artist daughter who is amused by everyone from the town busy-bodies to the tradition of drunk men peeing on the church wall. However, Antonia manages to carve out a place for herself by embracing love when she finds it, and opening her arms to the needy outcasts and oddballs that are victimized by cruel villagers.

This film also offers a wonderfully refreshing depiction of love in all shapes and sizes-- connections between mentally handicapped loners, romance between women, elderly romance. It does not sensationalize these unusual couplings, rather it highlights the giddy delight that is two human beings connecting. This is truly a movie about self-made "family," lonely souls that find each other and live together with loyalty. However, one graphic rape scene and a few other (naratively essential) scenes of violence make it inappropriate for young or sensitive children. It is overall, however, not gritty or depressing. Rather it is a portrait of hope made more real by addressing the presence of shadows.

Both "My life as a Dog" and "American Beauty" are reminiscent of the kind of beauty and humor you can expect from this film.

Funny thing with this movie is that it's an highly appreciated one (it even received an Oscar for best foreign language movie) all over the world but in its own native country the Netherlands it wasn't received that well. At least not as an Oscar worthy movie and everyone within the Netherlands at the time also was quite surprised it took home the Oscar.

What I can say about this movie is that it feels like a waste opportunity. The movie feels like one with hugely potential and if it worked out better this could had really been an 'epic' strong feminist family drama but instead the movie jumps all over the place also with its different styles and it's mostly an ineffective one. There is not much interesting within the movie, although you certainly have the feeling that the story itself had plenty of interesting elements to offer but yet it somehow doesn't always translate well to the big screen. Perhaps if the movie would had been an hour longer it would had worked out better and also as a more effective one.

The movie covers basically the entire lifespan of a strong-woman of the Dutch countryside and the future generations of women, her daughter her grand-daughter and right up till her great-grand daughter, while she herself is of course aging. This becomes an interesting aspect of the movie. It begins right after the end of WW II and it ends somewhere in the '90's or so I would guess. So the world around her is constantly changing but yet it also stays the same because she keeps all the people she care for close to her. This means that parts of the movie are set in different time-era's, which gives the movie something unique.

It's obvious that this movie was intended as a strong feminist picture, with all strong female leads in it but with this I mostly feel that the movie isn't as effective as it should had been. It just doesn't feature enough strong or original moments within the movie.

It's still a really well made and good looking movie though. It doesn't look at all like the movie got shot in the Netherlands, the countryside and all within this movie is far too beautiful looking for that. But I always have that with Dutch movies and I guess I just don't know how beautiful my country actually is. Perhaps I just need to stop watching so many movies and get out more...

Female director Marleen Gorris is obviously capable of making a beautiful and professional looking movie. She actually now has a quite successful career in America as a movie director, which is quite an accomplishment not only because she is Dutch but also foremost because she is a female. She actually was the first woman to direct a movie that won an Oscar for best foreign film. Guess she is a strong woman just like Antonia in this movie and that's why she directed this movie with so much obvious passion and devotion.

I wasn't too happy about the acting within this movie though. Willeke van Ammelrooy has always been praised for her role but in all honesty her performance is quite a mixed bag. As the younger Antonia she isn't always too great but as the older Antonia she's much better and more convincing. Can't say that the make-up always looks convincing though. Jan Decleir is normally always a real great actor but his role in this movie isn't anything too memorable but this is mostly due to the far too limited screen time he gets in this movie and he also has far too little lines to speak. He however still does a good job with his sequences and it's actually nice to notice that he took on a Dutch accent and for once dropped his native Belgian one. Still it's weird to hear many other actors within this movie still speak with a Belgian accent, while the movie is obviously set in the Netherlands but this of course has everything to do with the fact that this is a Belgium co-production and a certain part of the cast & crew just HAD to be Belgian.

I wish I could say that it was a brilliant Dutch movie, worthy of its Oscar...

6/10

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I think the other viewer got it wrong when they said the movie suggested "who needs men?". This movie contains every kind of relationship combination imaginable-- the message was anybody can find love. People also have children under all sorts of circumstances in this movie. The characters are in a family like relationship to each other because in a lot of cases they don't fit in with their family or the norm. Not to mention it explores the relationship of a woman with her family--- her mother, her daughter and her granddaughter. This movie explores religion and atheism, namely the hypocrisy of religion and the emptiness and search for meaning when one doesn't have religion. This movie explores a lot of themes- love, life, death, good vs. evil, and meaning. If all a person got out of it was that it was anti-family and anti-religion and anti-male, then they have lived a pretty sheltered life and won't get "it" anyway.

A Dutch matron (Willeke van Ammelrooy) establishes and, for several generations, oversees a close-knit, matriarchal community where feminism and liberalism thrive.

Roger Ebert gave the film four stars, saying the film showed "the everyday realities of rural life, a cheerful feminism, a lot of easygoing sex and a gallery of unforgettable characters." Leonard Maltin called it "a treat from start to finish." This really is a "feminist fantasy". As others have pointed out, this film succeeds because it is pro-women without being anti-men. That is the real message of feminism. Unfortunately, the name "feminism" implies a women-centric view, but that was never the point. The goal was equality, and with this film ,we see what that might look like. At least in the Netherlands.

The film portrays quirky characters realistically. The actors were convincing in their challenging roles. Some reviewers say it was about feminism but it was also about births, about death and lives inbetween and changes that occured over five generations. It offered the mystery of not knowing where the story would go next. Who is Fen-Shu to say men would not like it? It may be more accurate to say those with closed minds may not like it.

I have to disagree with those who claim that this film is ULTRA feminist. Though Marleen Gorris' feminism is indeed apparent is indisputable. But people who are not necessarily part of the feminist movement will still appreciate this film. It is a more modern view of the independent woman, but I didn't see the political agenda of Gorris overpowering the film. It can be enjoyed as a simple "fairy-tale" (as declared by Gorris herself). The portrayal of women as independent and strong is definitely refreshing, but those who claim this film makes a statement against religion and family aren't necessarily accurate. the film covers these issues, showing women's strength in dealing with religious hypocrites and single motherhood, but I personally didn't feel the film was encouraging all women to leave the church or raise up families independently. It's a marvelous story of women's strengths and vulnerabilities, and the love that the women in one family share. ALL people will enjoy this film.

After watching a not-too-hot film today, I pulled down "Antonia's Line" and once again fell into the happy trance I always get while watching this film. The other commentators have it right. "Antonia's Line" is a lovely, deeply moving fairy tale of four generations of strong, gentle women. The unusual quality of these women is that while (most of) them like men and sex, they don't become obsessed with either. And fellas, if you can't handle that it's your problem.

The real reason I'm writing is about the "If You Liked This Film" recommendation. "Kill Bill"??? Who picked out that as a companion piece???

Watching Antonia's Line 20 years after it was made (and winning Best Oscar Foreign Film then), it still has its quirky 'life-is-full-of-the-unexpected' charm reminiscent of 'new wave' movies of the 90s, though it does feel dated now.

It's about lore, life, love/lovelessness, and definitely not about logic. So if you go about looking for typical character motivation, plot sensibility or any form of social, religious or political allegory, then you're looking for these typical "movie subtext" in the wrong garden.

It is laughable how so many read 'feminism' into the movie. There is none of it, unless you go about creating one on your own. Both male and female characters can be interpreted as "strong" or "weak" depending on how you choose to view them based on your own bias - the movie as it is, has no bias whatsoever. For example, is resisting marriage a 'strong' or 'weak' trait? Depends on your own experiences, opinions, and views, isn't it. Or, to bay at the full moon because you can't marry your Protestant lover - is that 'weakness', 'foolishness', 'madness' or 'strong love'? Or to drown your own kin (who has committed a heinous rape) when he is already beaten and weak by pushing his head into the water from the back without his ability to defend himself - is that 'righteous', 'weak', 'strong', 'anarchic', 'cowardly', brave' or what?

The movie presents what it presents. If you choose to draw any conclusion from it, then know it comes entirely from you, and don't merit your own intentions to that of the movie's intention.

Watch it with open eyes and just let it rinse into you, and wash out whatever washes out.

Perhaps Antonia and her pink house unveiled for us the simplicity of the answer of those questions: 'what is life? Why are we here? What's my path? Where I belong? What's beneath and beyond? Could the whole learning and knowledge in this world help us to go through this life? And the answer is so simple and so beautiful drew in this impeccable movie. The answer is not just love, unconditional love, but accepting. Accepting suddenly became the ultimate form of love. The scenes come one after the other, like paintings, time is flying and you feel its wings, the world dies and reborn with every day, technology takes place of the old things, churches become empty, people die, children are born, the fields get green and brown, but above all the table from the garden will be always full with people, because there, at the pink house, some people discovered that the miracle of life is life itself, is love and is acceptance.

A feminist tale which in some ways reminded me of The World According to Garp, with Glenn Close as an independent woman who decides to have a baby without the active participation of a father figure.

The difference is that rather than an American perspective, it is a Dutch one. Antonia tells everyone that this is the last day of her life and she tells her story in flashbacks, starting with her arrival at the family farm with her daughter Danielle, and her intention of raising her as a single mother.

Following in her mother's footsteps, Danielle announces that she would like to have a child and so Antonia searches for the proper donor. The line continues when Danielle gives birth to Therese who then begets Sarah; got it? This is not a mainstream work, by any means. The acting is solid and the viewpoint an interesting one. I was mildly amused.

When I saw this movie the first time at the age of 16, I felt like I've seen one of the best movies ever; It was a small glance in a beautiful world, contending characters that I liked very much, within a story that I wanted to be part of. Today, for me it is not that good movie anymore, but it is still that kind of European movie many filmmakers could learn much from. Some themes are maybe represented too superficially (a depressive philosopher who kills himself because of too much thinking); It is a kind of superficial idealism, too many beautiful pictures and too many "big" and meaningful words. Too many incredible and lovely surprises, but still a movie anyone should see who loves good cinema (and doesn't love religion).

It takes courage to grow up and turn out to be who you truly are.

I can't think of any other platitude that better describes this amazing film by writer/director Marleen Gorris. The Motion Picture Academy felt as strongly as I do, as they awarded it an Oscar; a well-deserved Oscar, I might add.

It is about the progeny of Antonia (Willeke van Ammelrooy), a woman who returns to her village after WWII and begins life with her daughter Danielle (Els Dottermans). There is never any mention of a father. This is a feminist film in the purest sense. Men are not bashed, but there is a sense that they are not very useful, except for producing more daughters.

Danielle seeks a male to impregnate her and bears a child prodigy, Thérèse (Carolien Spoor, Esther Vriesendorp, and Veerle van Overloop), Thérèse becomes a pupil of the town intellectual Crooked Finger (Mil Seghers) and cannot find a man who can satisfy her intellectually and physically, so she settles for the physical and has a daughter of her own.

Men in this movie serve as seed bearers, or teachers, or comfort bearers, or, in one case, messengers of evil, as one manages to rape two women.

But the film is not just about feminism, it is also about acceptance. Antonia never hesitates to give comfort and shelter to anyone in need, whether it bee someone with an intellectual disability, the raped sister, the woman who loves having babies, or the priest who finds that celebrating life is better than celebrating death.

Her own daughter finds love in the arms of Thérèse's tutor, and this is not judged, only accepted as another part of life. Everyone seems to find love in Antonia's circle, and her real progeny is exceeded by those she touches with love and acceptance.

It is a beautiful story with a wealth of interesting characters. Gorris is an amazing writer and one can only be thrilled at her talent.

One of those films that falls in the category of "a celebration of life" (films falling into this category are a sure bet for serious Oscar consideration for Best Foreign Film). This film annoyed me a bit because it seemed to suggest that happiness is to be found simply by cultivating our relationships to one another and keeping connected. But there's also a big wide world out there, beyond our little Dutch village, and it plays a huge role in our chances of finding some measure of happiness--and it's something we ignore at our peril. Best feature of this feminist fable was its immanentism: an absolute refusal to accept the notion that there is any reality beyond the sentient existence we experience as we pass through life--so that all we can know and enjoy and hope for is contained in the endless cycle of Birth, Love, and Death.

"Antonia's Line" is one of those movies that's in love with its own quirkiness. This isn't always necessarily bad. Quirky films can be quite delightful when done well. However, in this case, the quirkiness comes at the expense of plot and logic. My sense is that this film's director intended Antonia and her line of female descendants to represent strong, fearless heroines imbued with the fighting feminist spirit. I get this sense because most of the men in this film are brutes, buffoons or a combination of the two, and the women kick butt, make love to each other and tell all of the men off at regular intervals.

This film is insulting to anyone who truly values feminist sensibilities in our movie culture. As so often happens, the makers of this movie equate "strong" with callous and emotionally distant. It's hard to care about Antonia and her relations because they all come across as either vacuous or heinous. Antonia's daughter casually chooses a complete stranger to impregnate her because she wants a child but doesn't want to have to deal with the father. Did she ever think that maybe the child would want a father. Is selfishness like this supposed to impress me with its strength of character?

The script meanders from one incident to the next, characters you barely learn anything about appear and drop out of the movie listlessly, and the pacing of the whole thing is limpid. The film is only about 110 minutes long but feels much longer.

I'm tired of the trend of thinking that propagates the belief that in order to be considered strong, women must prove that they can live entirely without men. That's such a juvenile attitude and serves no purpose. Callousness is callousness whether displayed by a man or a woman, and there's nothing weak about leaving yourself vulnerable to the complex relationships that spring between men and women. Of all the life lessons Antonia supposedly passes down to her ancestors, this is the one she forgot to include.

Grade: D+