Anora (2024)

Dir: Sean Baker

Cast: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, Alexsei Serebryakov

Mikey Madison is electric as the titular brassy, exotic dancer in Sean Baker’s surprisingly farcical Palme d’Or winning romantic drama

At a time when the film industry is brimming with inspirational, up-and-coming auteur’s, one who has gone somewhat under the radar, having been confined to the independent scene, is Sean Baker. Over the past decade, Baker has established himself as one of the most thought-provoking and life-affirming filmmakers working in indie cinema, having broken onto the scene in 2015 following the success of his first major theatrical release, “Tangerine”. The comedy-drama became one of the most acclaimed films of the year, with Baker being lauded for shattering typical Hollywood conventions by focusing on topics that the industry historically has shied away from. Baker’s decision to film the project entirely on iPhones, resulted in an incredibly raw and up-close examination of the American sex-trade, as well as highlighting the industries lack of diversity when it came to writing, and casting, well rounded transgender characters.

Almost a decade later, Baker has continued to focus his stories on those who live on the fringes of society. With his subsequent works, “The Florida Project” (2017) and “Red Rocket” (2021), exploring the lives of those society tends to cast a shadow on. Baker’s latest project, “Anora”, is by far the most ambitious yet from the 53-year-old, and has gone on to become the most critically acclaimed release of the writer-director’s already impressive filmography. Following its premiere at Cannes earlier this year, the film received a colossal 10-minute standing ovation, with Baker going on to leave the festival with the coveted Palme d’Or award in hand. Having been acquired by Neon in 2023, this marks the fifth consecutive Palme d’Or winner to have been snapped up by the distributor, following: “Parasite” (2019), “Titane” (2021), “Triangle of Sadness” (2022) and “Anatomy of a Fall” (2023). Given Neon’s recent successes campaigning their Palme d’Or winners for the subsequent Academy Awards, with all but “Titane” receiving a Best Picture nomination, the omens are looking good for Baker, who not only directed, but also wrote, produced and edited the film.

Much like Baker’s previous works, particularly “Tangerine” and “Red Rocket”, “Anora” lifts the lid on the underbelly of American society, by having our central character, once again involved in the sex industry, being downtrodden by the upper and middle classes. What Baker once again manages to do, is create a largely unlikeable central character, but given her low-societal status, as well as a brassy and occasionally obnoxious personality, she is allowed to have her say on a society that does not treat her with the respect she feels she deserves. Our titular lap dancer is played by Mikey Madison, in what has become a major breakout role for the talented young actress. Baker cast Madison without the need to audition having seen her small but memorable supporting performances in Quentin Tarantino’s “Once Upon a Time in Hollywood” (2019) and Radio Silence‘s revival of “Scream” in 2022.

We are immediately introduced to Anora (Madison), known to most as Ani, giving one of the several private lap dances she performs for her seedy, middle-aged clients throughout the movie’s whirlwind fairytale first half. Living in Brighton Beach, NY, with her sister, Ani is unhappy with her life but content with her profession, fully aware she is good at what she does even though she strives for more. Ani’s strip club, HQ, attracts an assortment of creeps and deadbeats whom our protagonist has to put on a performance just to get by, but she soon finds herself in luck when she is personally asked for by the young and gawky “Vanya” (Mark Eydelshteyn). Despite not seeing herself as a prostitute, Ani is hired by Vanya for multiple sexual encounters at his family’s ridiculously large Brooklyn mansion, where he explains he is the son of a powerful and wealthy Russian oligarch.

As the couple grow closer, Vanya pays Ani $15,000 to be his girlfriend for the week, and she accompanies him and his entourage on an impromptu drug-fuelled, party trip to Las Vegas. Expressing concerns that his parents will eventually force him to return to Russia, Vanya proposes to Ani so he can get his Green Card, declaring his love for her. Although initially sceptical, Ani accepts the proposal and the couple get married as they elope back to Brooklyn to start their lives together. Meanwhile, news of the marriage reaches Vanya’s parents back in Russia, who order Vanya’s godfather, Toros (Karren Karagulian), along with fixers, Garnick (Vache Tovmasyan) and Igor (Yura Borisov) to get the marriage annulled by any means, despite Ani’s protestations.

Having been familiar with all of Baker’s previous major works, I found myself coming out of my opening night screening of “Anora” pleasantly surprised by the filmmaker’s seamless transition into more mainstream filmmaking. While Bake continues to defy genre conventions with his synonymously tragic character studies, his latest work will no doubt appeal to a larger audience thanks to a refreshing amount of levity. Baker’s often grounded and bleak narratives have a tendency to move and wow audiences but also leave them feeling rather cold and sombre by the time the end credits role. Even with his most upbeat work, “The Florida Project”, an otherwise flawless film is left somewhat soured by a bittersweet ending that remains left open to interpretation. While I do personally feel that Baker once again drops the ball here with the movie’s closing scenes, the chaotic and often hilarious two hours that proceed it more than make up for the awkwardly abrupt ending we are presented.

“Anora” plays out in two tonally contrasting but equally enjoyable acts, the first of which being a whirlwind fairytale as our titular showgirl is presented with an opportunity almost too good to be true. Channelling the energy of Lorene Scafaria‘s excellent crime-dramedy “Hustlers” (2019), we are treated to an electric central performance by Madison, a star in the making, as she tirelessly works the room at her seedy gentleman’s club workplace, opportunistically seeking out any client that can contribute toward her dream materialistic lifestyle. Her relationship with the annoyingly spoilt and immature Vanya is initially strictly professional, both seemingly using the other for their own personal end, whether it be financial gain, or in Vanya’s case, independence from his overbearing, public-figure parents. This fast-paced opening act sees Ani live out the fairytale lifestyle she has been dreaming of, and despite the obvious scepticism surrounding the central couple’s authenticity, there does appear to be a genuine chemistry between Madison and Eydelshteyn’s characters. Reality soon sets in for the newlyweds though once Toros and his bumbling buffoons interrupt the festivities, in a second act that sees this fairytale romantic drama quickly shift into a farcical, Coen Brothers-esque caper.

As shown with her most notable previous performances, Madison plays fiery and fierce very well, and while these characteristics have been utilised for villainous roles in the past, here they highlight the levels of spirit and ambition driving our central character to what she feels is her rightful place in society. This explosive energy allows Madison to dominate the movie, with her character’s unpredictability and feistiness proving too much for the gang of burly Eastern European fixers sent to essentially subdue her. This makes for both great comedic and dramatic character work, not just for Ani, but also for the emotionally subdued Igor, who despite barely saying a word following his mid-film introduction, gradually starts to notice the vulnerabilities in Ani, eventually warming to her despite her hostilities towards him. This unexpected bond between the two will undoubtedly split opinion due to the nature of their initial interaction, which plays for laughs but could be very easily be misconstrued as something a lot more alarming. While I found their connection believable as a result of Igor’s advanced levels of maturity compared to Vanya, I did find the closing scenes to be both narratively and tonally out of place for what was otherwise a madcap comedy-romance – imagine if the Safdie Brothers directed “Pretty Woman”.

While I found myself enjoying “Anora” in the moment, it is not one that has lingered as much as I would have expected after leaving my screening, perhaps the levels of expectation going in left me somewhat underwhelmed. That being said, this is still an excellent picture that further demonstrates Baker’s filmmaking abilities. It is looking increasingly likely that “Anora” will be a major awards player this year, so will be exciting to see both Baker and Madison get the recognition they deserve for their work, and hopefully their careers carry on up from here.

Anora is now showing in UK Cinemas

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