Besson employs a clever structure for “Anna,” starting with a seemingly unrelated incident in 1985, then skipping ahead to 1990 to the moment when Anna gets tapped to become a model, before jumping back a few years to fill in some important details. The rest of the movie follows this pattern: bringing the heroine to some major milestone in her career as a covert killer, before pausing and rewinding to show the audience something essential that happened earlier.

Source: Los Angeles Times June 21, 2019 06:56 UTC