– Academy Award Winner for Best Supporting Actress Jolie’s Lisa is a supernova. A pathological liar, a manipulator, and a relentless truth-teller, she is both the film’s antagonist and its most magnetic presence. Jolie plays her with feral energy—chain-smoking, mocking group therapy, breaking rules. The famous scene where she confronts a former patient (Daisy) who has been released and is trying to recover is one of the most uncomfortable in 90s cinema. Jolie doesn’t ask for your sympathy; she demands your attention. Her Oscar was fully deserved, but it also slightly unbalances the film: we often want more Lisa when the story is about Susanna learning to leave Lisa behind.

Synopsis Set in the late 1960s, Inocencia Interrumpida follows Susanna Kaysen (Winona Ryder), a bright but directionless 18-year-old who, after a vague suicide attempt involving a bottle of aspirin and vodka, is diagnosed with “borderline personality disorder” and committed to Claymoore, a prestigious but oppressive psychiatric hospital. The film documents her two-year stay, focusing on her relationships with a small group of young women—most notably the charismatic, sociopathic Lisa (Angelina Jolie)—and her reluctant journey toward self-understanding and release. Performances: The Heart of the Storm Winona Ryder (Susanna Kaysen) Ryder delivers a deeply internal, melancholic performance. She captures the numbness and confusion of someone who doesn’t feel “crazy” but also cannot function in the “normal” world. Her Susanna is an observer—intelligent, witty, but paralyzed. Ryder’s strength lies in her silences; you see the wheels turning, the self-doubt, the suppressed rage. However, compared to her co-star, her performance is deliberately subdued, which some critics have called passive. Yet that passivity is the point: Susanna is interrupted mid-development, frozen in adolescence.

The Virgin Suicides , Prozac Nation , It’s Kind of a Funny Story .

Inocencia Interrumpida is an uneven but emotionally resonant film. It suffers from a passive protagonist, a meandering second act, and an over-reliance on Jolie’s electricity. Yet its quiet moments—Daisy’s last morning, Lisa’s rare tears, Susanna finally writing her story—linger. It is less a masterpiece than a mood: the feeling of being young, lost, and locked away from your own future. For fans of character-driven 90s indies and anyone interested in the messy intersection of mental health and female identity, it is essential viewing. Just go in expecting a chamber piece, not a revolution.

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