Anna changes Oliver so much, in fact, that the film toes the line of having Anna being an anti-feminist archetype. A stock, perfect girl character with no life beyond what we see of her with the male character and is only written to be an endearing catalyst for him to experience interior change. The film skirts that line, however, not because we don’t see Oliver change, but because Beginners gives us significant glimpses into Anna’s interior life over the course of the rest of the runtime. In a film centered around Oliver’s relationship with his recently out, and even more recently deceased father, the scenes with Anna and himself arguably become dominated by her and what she is feeling. Her ennui about her career never letting her ever put down any real roots due to her constant travel, her insecurity of not being enough to help make up for Oliver’s loss, her lack of knowledge or direction of how to be a domestic partner, and later, her own complicated relationship with her father – these are all real emotions and flaws that factor into her character becoming fleshed out as the film goes on. More importantly, they give us the emotional hooks we need to latch on to Anna by being able to see her experience these real, complex emotions.