There is something sinister about the trailer for Anna. Something that seems to remind us of the pandemic, ours. Anna, the little girl of Niccolò Ammaniti, did not see his world waver under the weight of the Coronavirus, but of a worse evil, capable of exterminating adult life in its entirety. The “red”, a terrible fever, has erased the existence of every human being who has passed puberty. Only children, fragile creatures, have been spared from the explosion of the virus, orphans awaiting death.
Anna, dangerously close to the age of development (“Have you already had redheads?”, Is the question that her peers ask themselves more often, alluding not to fever but to the first appearance of the menstrual cycle), did not want, however, surrender to the inexorability of the virus. To the wickedness it has seen born, to selfishness. Armed only with the handbook left to her by her mother, she decided to fight, for herself, for her brother, little Astor. To keep alive the hope of a better life, still possible. A life, of the atmospheres of which the trailer of Anna, visible above, returns a first idea.
Anna, TV series based on the novel of the same name that Ammaniti wrote in 2015, it’s a dark story: the chronicle of a Wendy turned tragedy. It’s the children’s apocalypse and, on Sky, where it will debut on 23 April next, seems to have brought with it a greater drama, more intense than that which Ammaniti, screenwriter and director of the series, has put in his book.
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