‘What Sean Baker does for sex workers is what Martin Scorsese did for gangsters’ is one of the craziest Letterboxd reviews I’ve ever come across. If you’re someone who lives and breathes film Twitter, (I refuse to call it X), you’ll know how much this theatrical release means for moviegoers. Helmed by Sean Baker, Anora is the winner of the Palme d’Or at this year’s Cannes Film Festival — the first American film to take home the prize since The Tree of Life in 2011.
The movie was also chosen as the closing film for this year’s MAMI Mumbai Film Festival, attracting a huge crowd outside the screening venues.
Sean Baker: The Mastermind
In case you aren’t familiar with Baker’s work, you might want to jump on the bandwagon now. He’s known for films like The Florida Project, Red Rocket, and Tangerine. He has a knack of making protagonists who wouldn’t typically be considered ‘main characters.’ But this time, with Anora, he’s telling a story that’s bolder, wittier, and more accessible for viewers.
Who is Anora?
The titular character, Anora (famously known as ‘Ani’, played by Mikey Madison), is a stripper/exotic dancer who sometimes moonlights as an escort in New York. At first glance, your sentimental side will itch to sympathise with her; a young woman working in such a place, which says a lot about America’s current social situation.
But don’t worry, she doesn’t need it. Anora is a woman who knows exactly what she wants from her life. When a VIP Russian version of Timothée Chalamet, Vanya aka Ivan (played by Mark Eydelshteyn), enters the bar asking for someone who speaks Russian, Anora steps into the real game.
Vanya is the poster boy of rich privilege. He’s a wealthy twenty-something who parties like his life is one big, non-stop spring break. When Anora and Vanya’s relationship begins – as you’d expect in a client-escort situation – I’m sure Pretty Woman is the first thing that comes to mind. But hold on, not so soon. As their whirlwind romance turns into a full-on Vegas trip and a surprise, way-too-fast marriage, that’s when you realise everything you thought about Anora is wrong. This is not your typical ‘pretty woman finds a rich guy and lives happily ever after’ love story.
Things start going south (quite literally, geographically for America) when Ivan’s parents find out about his marriage to a stripper (OMG! The ultimate shame). Later Ivan’s father sends his enforcers (played by Karren Karagulian, Vache Tovmasyan, and Yura Borisov) to bring him back to Russia, and the reality of their seemingly fairy-tale relationship begins to emerge.
(Major Spoiler Ahead)
Get ready to roll your eyes, because our lover boy runs away, leaving poor Anora behind. But don’t panic, even amidst the search for him by his father’s enforcers and Anora, there’s still a love story for the viewers. When Anora says, “Be a f*cking man and talk to me”, you won’t help but yell: yes! call him out girl.
The Magic Starts to Fade
The first major stretch of the movie is hilarious and flawless. There are so many great lines and little moments from Anora and Ivan as they form their weird bond. The movie strikes an incredible tone and rhythm of bliss and humour that you can’t help but feel, “this is too good to be true… this guy’s dad is a Russian oligarch… the other shoe is going to drop…” And it does.
The part where the Russian/Armenian dudes show up at the mansion is where the movie started to unravel in it’s true sense. After Ivan takes off running and the goons struggle to restrain Anora, the movie devolves into a slapstick comedy. The handlers are almost comically incompetent. We also see that Anora can fight a good fight and initiate sex, but isn’t capable of forming a healthy connection with a man.
For a movie that really feels its length, I think it could have used a little more melancholy or realism, especially given Anora’s desperation to hold on to her pay day. At the very least, the transition from a world of party ecstasy to awkward boredom could have been handled with a little more grace.
Performances
Mark Eydelshteyn’s portrayal of Vanya (aka Ivan) is pitch-perfect. There are moments when he comes off a bit awkward, which fits the character to the point. I’d have to say Yura Borisov and Mark Eydelshteyn are complete scene stealers, two of the best supporting performances of the year.
But make no mistake, this film belongs to Mikey Madison. As Anora, she’s funny, vulnerable, strong, and completely magnetic. You can tell she’s fully immersed in this role, not just performing it. The chemistry between her and Eydelshteyn is a joy to watch. Madison is one of those actors whose screen presence makes it hard to look away.
Make Way To The Theatres
Baker has a talent for blending satirical humour with deeper, more real-world situations. This film is no exception. With all its fun and chaotic mess, it also carries an emotional baggage that will catch you off guard. Anora feels like Cinderella but on drugs, an ultimate ‘what if’ fantasy for people who are used to getting the short end of the stick.
When Vanya offers Ani this dream of a new life as his wife, one where she’s no longer performing in clubs for pathetic rich men but actually being respected, it feels almost too unreal. And when her dream starts to crack, you’ll be on the edge of your seat, hoping she can make it through.
It’s impossible not to get caught up in her optimism, even when everything seems to be going wrong. That’s the magic of Anora; it’s a wild ride that, against all odds, pulls you into a world full of broken dreams that somehow still feels like it could all work out. It’s funny, thoughtful, and sharp in all the right ways.
