Picture this: it’s a cozy weeknight after a dreary day at work, and you’re browsing Netflix for something to make you feel. You’re looking for a fleshed-out emotional experience, maybe even something heart-wrenching, but you don’t have the energy for a full lengthy two-hour film. Luckily, the most heartfelt drama on Netflix is only 15 minutes long. ANIMA is a film that unravels around a medley of music from Thom Yorke, the lauded solo artist and frontman of the beloved group Radiohead. Yorke, a highly innovative and provocative force on his own, teams up with an equally inspiring crew to make this vision come to life.
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Anima was directed by critically acclaimed filmmaker Paul Thomas Anderson, choreographed by Damien Jalet, and with cinematography by Darius Khondji. Additionally, Yorke stars in the film alongside his real-life partner, Dajana Roncione, providing an extra layer of intimacy to the film. Last but especially not least, a brilliantly talented dance crew helps tell this profound coming-of-age story. This dynamic collaboration allowed for something that otherwise may have been considered a music video to become a true film. Its gravitas and storytelling make all 15 minutes a highly moving experience. All facets of the film were thoughtfully created in order to enhance and bring Yorke’s already compelling music into a physical space. During ANIMA, viewers are taken through a sequential arc akin to a full-length film. Having been described as a “mind-bending visual piece” and advertised in the Netflix description as “best played out loud,” ANIMA knows that it upholds a certain theatrical and narrative caliber that merits its place as a film, and not just as a music video.

The Brains Behind the Vision
Anima the film was not the first encounter for director PTA and Thom Yorke. Anderson has collaborated with Radiohead to direct a few of their music videos before. From their 2016 album “A Moon Shaped Pool,” he directed videos for “Daydreaming,” “The Numbers,” and “Present Tense.” Anderson has also collaborated with Radiohead bass player Johnny Greenwood on scores for his films Licorice Pizza and The Master. Anderson wasn’t the only friendly collaborator for Yorke on this project. Yorke and choreographer Jalet had previously worked together on the film Suspiria, which Yorke scored. The two connected strongly when working on Suspiria, and it seemed they had unfinished business as collaborators and creative minds after the film wrapped. Yorke and Jalet certainly had a powerful reunion by creating ANIMA together. Anderson described himself as a third wheel in this project, but in reality, his direction acted as more of a missing link between the duo as Anima came to fruition. These collaborations rooted in solid foundations prior to Anima the film’s inception really shine through in the final product. Yorke as the star provides real confidence and conviction in front of Anderson’s camera and following Jalet’s choreography.

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‘ANIMA’ Operates in Three Acts Like a Feature-Length Film

Image via Netflix

The decision to medley the three songs that are chosen from the record lends ANIMA’s existence to be more of a film as well, as opposed to a music video. The songs “Not the News,” “Traffic,” and “Dawn Chorus” were intentionally chosen and ordered to construct and navigate an emotional arc and process. With these three songs, the story is broken up into the three acts that a film would occupy.

“Not the News” is the first act, setting the scene. The opening line of the song is “Who are these people?” as the film commences with Yorke and dancers on a subway. They all recite sluggish yet frantic choreography that conveys they are all part of the rat race. Everyone is begrudgingly going through the motions in an animatronic manner. Before getting off the train, Yorke notices that a woman (Roncione) left her bag on the train. He grabs it, inciting a break from the routine, and begins his search to return it to her.

“Traffic’” follows as the second act. This song contains oppressive lyrics, starting with “Submit. Submerge. No Body. No Body.” The weight is eventually lifted by the line “But you’re free.” This second act serves as an acknowledgment of this hectic reality. Viewers grow overwhelmed alongside Yorke as he is on what seems to be a wild goose chase between the masses in order to return the bag to its owner. There is a sense of both yearning and exhaustion in the air at this point. There is only a subtle reminder that there is freedom to be found within all of this.

The third and final act occurs with the song “Dawn Chorus.” This concluding phase ties up all the restless emotions that have been building up. With this song as the finale, a stage of true acceptance has been reached. The music slows down, and Yorke finally reaches the woman from the train. He returns her bag in an emblematic joining of forces. Lyrics like “If you could do it all again. Yeah, without a second thought,” are sung softly, and it’s hard not to shed a tear. Without the initial chaotic hustle and bustle, Yorke would have never connected with his partner. Although they met in the mayhem, they now have each other and can create their story together.

Anderson and Yorke Create a Heartfelt Drama

Image via Netflix

At the beginning of the film, there were so many characters, and Yorke and Roncione were just two people in the mix. They started on the subway as strangers, both equally robotic figures following life’s larger routine. Roncione forgetting her bag created an accidental break in the routine for both of them. This leads them to each other, and they end on the same subway they started out on. Now, instead of strangers, they are together and in love.

Anima provides a meet-cute that occurs in rom-coms, followed by a big romantic chase, and closes with a touching yet bittersweet ending. Anima is about coming to terms with the rush of reality, and simultaneously how when you meet the right person, happiness can be found where there was once mundanity.