Lieux de tournage

En Allemagne

Bad Tölz
Hambourg, Reeperbahn
Berlin, principalement dans l’ancien parc d’attractions Spreepark où se situe la maison de Grimm
Babelsberg, Filmpark (de), près des studios de Babelsberg
Heiligenhafen
Pont-canal de Magdebourg
Manhagen

Au Maroc
Ouarzazate
Essaouira

Les bateaux-cygnes enjambés par Hanna lors de la course-poursuite dans le parc d’attractions abandonné de Spreepark.Finlande du Nord Région de Kuusamo, près du lac Yli-Kitka

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Musique
La bande originale du film a été composée par le groupe de musique électronique britannique The Chemical Brothers.

La critique de James Berardinelli (1)

Dark, visceral, and brimming with suspense, Hanna is not the follow-up to Pride & Prejudice and Atonement one might expect from director Joe Wright. Nevertheless, here it is: an intriguing,original thriller that owes as much of a debt to the likes of Frankenstein, the Brothers Grimm, David Lynch, and A Clockwork Orange as to The Professional and The Bourne Identity. Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery. And it also has the advantage of a "clean" ending, meaning that it provides unambiguous answers to the many questions it raises.

Wright prefers that Hanna be known as a drama with action sequences, but such a description shifts the focus away from the restless, relentless pacing. Yes, there are dramatic elements to the story - these are necessary to character development and narrative progression - but the real hook is the mystery surrounding the nature of the title character and the suspense that accompanies her journey from isolation to modern reality. The movie divides its storyline, following the parallel treks of Hanna (Saoirse Ronan) and her father, Erik (Eric Bana), as they infiltrate society separately on their way to a reunion.

La critique de James Berardinelli (2)

Hanna has spent most of her life in the inhospitable wilds of Finland, learning from her father how to become an elite assassin. His teaching methods are unforgiving and Hanna's training has been harsh. Now, however, with half her teen years behind her, she decides that she is ready to enter society. Her first mission is to infiltrate a secure U.S. government installation in Europe and kill Marissa Wiegler (Cate Blanchett), the woman responsible for Hanna's mother's death. Meanwhile, Eric heads south so he can reunite with Hanna in Berlin once "the witch is dead." The plan goes much as expected, except the "Marissa" Hanna encounters is an imposter. After escaping the secure location where she is taken for interrogation, Hanna becomes the prey in a cat-and-mouse game with the real Marissa, who is stalking (and being stalked by) Erik.

Wright's visual mastery is in evidence throughout Hanna. Although he limits his flourishes (there are no long tracking shots to match the one in Atonement, which some viewers and critics found to be self-indulgent), the film looks great. Shots are carefully composed and never haphazard. Some of the early scenes in the snow are breathtaking and the clarity with which the action scenes are framed (especially the ones in which Hanna escapes from her captors and Erik faces off against four opponents in a columned "arena") remind the viewer of the value of a stable (rather than spastic) camera.