"To Whom It May Concern" is one of the finest films ever produced on gender identity. The writing and directing are superb, and the film is worth watching for the courageous performance of actress Dawn Olivieri in the role of Anna.
The film artists do not rely on shock value to tell their story. Instead, the use of understatement often makes the most powerful points about Anna's lifelong struggle for self-identity. One of the most moving relationships is that of Anna and the sister who knows Anna's secret and her history of desperate attempts to keep her balance. One senses that there were other episodes in the past when Anna contemplated taking her life. Yet, the siblings never talk about the secret; the emotional connection is made through subtext and silence.
A second example of the film's subtlety occurs in the film's opening moments. Anna is depicted waking up in her car, and it is apparent that she has furtively engaged in a one-nighter in a parking lot. The entire film may be back-read in terms of that opening scene: Anna has lived her life in the shadows, as apparent in the pick-up who does not even remember Anna's name. Later, in a delicately nuanced dramatic moment, Anna confesses to Sam that she never experienced a "first love" while growing up. Both Sam and the audience do not yet realize the poignancy of that admission.
Another strength of the film is the relationship that develops between Anna and Sam. There is a fascinating contour to the relationship, as Anna lacks confidence and is full of self-loathing. For his part, Sam genuinely cares for Anna while never fully comprehending the nature of the demons that Anna is battling.
The director discovered inventive camera angles, especially in the voyeuristic scenes occurring in a bathroom where there is a hole in the wall that permits viewing the activities going on the next apartment. Overall, this modest independent film was a sleeper that left an unforgettable impression due to its sensitive treatment of an important topic. It is a story of Anna's journey into the heart of darkness and the character's emergence with a sense of dignity and redemption.
The film artists do not rely on shock value to tell their story. Instead, the use of understatement often makes the most powerful points about Anna's lifelong struggle for self-identity. One of the most moving relationships is that of Anna and the sister who knows Anna's secret and her history of desperate attempts to keep her balance. One senses that there were other episodes in the past when Anna contemplated taking her life. Yet, the siblings never talk about the secret; the emotional connection is made through subtext and silence.
A second example of the film's subtlety occurs in the film's opening moments. Anna is depicted waking up in her car, and it is apparent that she has furtively engaged in a one-nighter in a parking lot. The entire film may be back-read in terms of that opening scene: Anna has lived her life in the shadows, as apparent in the pick-up who does not even remember Anna's name. Later, in a delicately nuanced dramatic moment, Anna confesses to Sam that she never experienced a "first love" while growing up. Both Sam and the audience do not yet realize the poignancy of that admission.
Another strength of the film is the relationship that develops between Anna and Sam. There is a fascinating contour to the relationship, as Anna lacks confidence and is full of self-loathing. For his part, Sam genuinely cares for Anna while never fully comprehending the nature of the demons that Anna is battling.
The director discovered inventive camera angles, especially in the voyeuristic scenes occurring in a bathroom where there is a hole in the wall that permits viewing the activities going on the next apartment. Overall, this modest independent film was a sleeper that left an unforgettable impression due to its sensitive treatment of an important topic. It is a story of Anna's journey into the heart of darkness and the character's emergence with a sense of dignity and redemption.