The fifth film in the John Wick franchise newly unites Ana de Armas with Keanu Reeves, since the two had worked in the 2015 thriller Knock Knock and the 2016 drama Exposed. After a decade, we see them together again in Ballerina, that serves as a spin-off set between the events of John Wick: Chapter 3 – Parabellum and John Wick: Chapter 4.
The film directed by Len Wiseman and written by Shay Hatten revolves around the figure of Eve Macarro (Ana de Armas), a dancer and assassin who grew up in Ruska Roma. As a child, she witnessed the murder of her father and was eventually saved by Winston (Ian McShane), who entrusted her to the organisation that would train orphans to become killers, under the guidance of the Director (Anjelica Huston). As an adult Eve becomes the best of assassins, imperturbable and focused. Yet, things change when she sees on the wrist of a man she killed on commission, the identical scar of the murderer of her father. This discovery initiates her manhunt to track down those who killed her father. She will find the cult who was responsible, and more revelations will emerge. During this plight John Wick will enter the scene, determining the final twist of events.
The film flaunts a talented cast, that besides the aforementioned actors, includes Gabriel Byrne, Catalina Sandino Moreno, Norman Reedus and Lance Reddick in his final screen appearance. The cinematography by Romain Lacourbas glorifies the elegance of ballet, as much as the dauntlessness of the kick-ass fight sequences. This alternation of situations, allows the ethereal to coalesce with darkness in a spectacular way, through some effective directorial choices made by Len Wiseman. Close-ups, wide shots, the dynamic camera angles keep spectators constantly on the edge of their seats. The pirouettes of the camera dance to the rhythm of Klaus Badelt’s haunting music score, that stirs emotional resonance. Ultimately, Jason Ballantine’s editing is determining in giving rhythm and balance to the entire storytelling, ensuring a polished and immersive viewing experience.
Ballerina channels in the John Wick realm — traditionally dominated by male figures and rigidly codified rituals — a female perspective that is multifaceted. The fair sex can be vengeful, empathetic, surprising and full of resources. To “fight like a girl” finally gets a whole new meaning, characterised by fearless inventiveness.
Although the genre remains a blockbuster guilty pleasure, the creative team has succeeded in crafting a picture that is more than mere entertainment. The story highlights the protagonist’s struggle to fulfill her mission while navigating her vulnerabilities and friendships. It could almost be seen as a coming-of-age neo-noir action thriller, that ventures in the field of philosophy.
In fact, the film develops a phenomenological discourse on the body. If existentialist philosopher Maurice Merleau-Ponty said “I don’t merely have a body, I am my body,” Ballerina fully demonstrates this concept through the way the film’s characters behave and think. This is epitomised by Eve, since ballet is not just a training tool, it becomes a language and a way of being the world, to carry out her assignments as an assassin. But it also becomes the tangible memoir that never leaves her.
Every injury that has been inflicted on her body, has shaped her consciousness. Memory and resilience are archived in every cell of her physique and psyche. Thus, choreographies leave the stage to be used to dance around Eve’s opponents as she expresses her pain and desire for justice.
Final Grade: B
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Photo Credits: Lionsgate
Here’s the trailer of the film.