Synopsis
After a string of abusive relationships, Wanda abandons her family and seeks solace in the company of a petty criminal.
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Wanda
Cast
Barbara Loden Michael Higgins Dorothy Shupenes Peter Shupenes Jerome Thier Marian Thier Valerie Mamches Anthony Rotell M.L. Kennedy Gerald Grippo Milton Gittleman Lila Gittleman Arnold Kanig Joe Dennis Charles Dosinan Jack Ford Rozamond Peck Susan Clark Linda Clark Bill Longworth Frank Jourdano Pete Richman Ed Somavitch
Director
Producer
Writer
Editor
Cinematography
Lighting
Sound
Studios
Country
Language
Alternative Titles
WANDA／ワンダ, WANDA ワンダ, 완다, 旺达, Ванда, 浪蕩天地
Genres
Themes
Releases by Date
Premiere
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Italy
Venice Film Festival
01 Aug 2004
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PortugalM/16
05 Oct 2020
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Chile
Valdivia International Film Festival
02 May 2021
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South Korea
Jeonju International Film Festival
23 Jul 2021
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FinlandK-18
Theatrical
01 Sep 1970
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USAPG
20 Feb 1971
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USAPG
07 May 1986
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Netherlands
09 Jul 2022
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Japan
Releases by Country
Chile
05 Oct 2020
- Premiere Valdivia International Film Festival
Finland
23 Jul 2021
- PremiereK-18
Italy
21 Aug 1970
- Premiere Venice Film Festival
Japan
09 Jul 2022
- Theatrical
Netherlands
07 May 1986
- Theatrical Re-release
Portugal
01 Aug 2004
- PremiereM/16
South Korea
02 May 2021
- Premiere Jeonju International Film Festival
USA
01 Sep 1970
- TheatricalPG
20 Feb 1971
- TheatricalPG
Popular reviews
More-
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there’s an acrid authenticity to the character of Wanda: at once submissive, passive, and tenacious — a flickering blue flame, a pilot light ready and aching to burn it all down.
as the first narrative feature ever to be written, directed by and starring the same woman (Barbara Loden), Wanda is undeniably herstoric, without even really trying to be, which is maybe why it succeeds. i know i’ve talked about this before and often, but contemporary studio feminism is so rooted in women being portrayed as physically strong, perfect angels devoid of fatal flaws. Wanda opens with her being late to her own divorce court hearing and eagerly pawning her kids off on her ex-husband. yee-haw! the new hollywood movement is for the girls too!
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Saw this years ago so revisiting this film now that it has been restored was like watching the film for the first time. Restoration is fantastic.
Great building of tension and always engaging. Love the 16mm aesthetic and Barbara Loden says so much with so little words in her textured performance.
So sad that Loden didn't direct another feature.
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The crushing, mundane, aimless despair of everyday reality and our understandable but failed attempts to retreat into fantasy. "If you don't have anything then you're nothing. You may as well be dead. You're not even a citizen of the United States."
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The quintessential movie about realizing that America is shit and that there's nothing on life's horizon but also not knowing how to get out of it. The real Nomadland.
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There are so many oeuvre's of canonical filmmakers that could be disposed of completely if it meant at least one more film from this phenomenally gifted filmmaker. I can think of no film which has such a remarkable sense of place and world-building, yet achieves a level of subjective experience that is in my opinion unparalleled in cinema. If this was the one and only movie I had made, I would die happily. Barbara Loden was supernaturally talented. She is truly one of the greatest.
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Wanda has such a rough life I'm glad she got to eat an ice cream cone at one point
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Achingly depressing. Poor Wanda has been beaten into the earth by life, emotionally abused to the point where her self-esteem is non-existent and she’s destined to be framed in isolated wide shots, strolling aimlessly towards the forever grey horizon. The first half hour is just wonderful in all the worst ways; I’m not sure I’ve ever felt so much instant pity for a character. Wanda’s downbeat life consists of giving up/fucking up everything she loves, though maybe she can’t even feel love anymore. She happily gives her kids away to her ex-husband claiming they’ll be better off with him. There’s a great mini scene where she’s alone in the cinema watching a film, and it reminded me of Karina in…
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85
A total unified synthesis between actor and performance. Barbara Loden *is* Wanda, rumbling through a observational, harsh reality of structures and concepts destined to ruin lives of those at the bottom of the well. A landmark achievement that flies by like a flash of memory.
"That's the score."
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Barbara Loden’s “Wanda” looks, sounds, and feels like a film pieced together from the last scraps of nothing.
The first feature-length movie to be written, directed, and starred in by a woman, “Wanda” is a work that struggles with whether or not it should exist. But ultimately - it, and Loden, decide that the work is nothing less than necessary.
“Wanda” was Loden’s only directorial outing before her young death from breast cancer. The story of a housewife who wanders without place or purpose other than drifting being all she can do, “Wanda” emphasises the unknowability of women’s own souls, desires, and capabilities.
Similar to Agnès Varda’s “Vagabond,” which arrived a decade and a half after “Wanda,” Loden allows little…
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do you ever realize that someone sees something the same way as you, that all your thoughts sync up, and it makes you emotional? knowing that you both came to the same conclusion after experiencing something?
after watching this a few weeks back, i ended up finding an excerpt from a book written by nathalie léger titled suite for barbara loden where she discusses some different interpretations of the ending of wanda, and then goes on to talk about what she took away from it. reading her analysis, everything sounded so familiar.. like it came straight from my mouth.
she says: “wanda, at the end of her journey, is sitting with other people, a little squashed, on a bench. the…
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