As a simple cinephile, armed with both an X and Letterboxd account, my feed has been blowing up for the past few months about one of the most lauded pictures of the year: Sean Baker’s Anora (2024).
During film festival season, Anora received the Palme D’Or prize at the Cannes film festival, one of the highest honours a film can receive, and went on to get a runner-up prize for the People’s Choice award at the Toronto International Film Festival. The last film to have this legacy was none other than Bong Joon Ho’s Parasite.
Ho’s film went on to sweep at the 2020 Oscars, taking home three huge awards, including Best Picture. Anora is a front-runner for some more big wins this year, playing in Kingston theatres right now.
Needless to say, I was excited. However, upon its initial theatrical release on Oct. 25, my socials became flooded with negative ratings—two star, even one star reviews. I grew nervous. Yet, after seeing it this past weekend I can proudly say, the movie is worth the hype—to an extent.
Set in New York City, Anora follows Anora, or “Ani,” played by Mikey Madison, a Russian-American sex worker who meets—and instantaneously marries—Vanya, or Ivan, the son of a Russian oligarch. The film then spirals out of control when Vanya’s parents get wind of the union and set out to have it annulled.
Popular indie filmmaker Sean Baker often deals with the exploration of sex-work in his films, such as Red Rocket (2021) and Tangerine (2015). Anora throws you right into the nitty-gritty of the adult club scene while steering clear of making grandiose commentary or judgements about such work.
All the buzz around a film that delves into such a taboo topic seems like a step forward in cinema, especially when past films with similar themes—like Hustlers (2019)—were completely shut out of the conversation during awards season. While garnering some nominations during the big award circuit—with Jennifer Lopez’s supporting performance receiving a Critics Choice Award and lots of Oscar buzz—the film ultimately failed to get any sort of larger recognition with the Academy, snubbing Lopez’s performance entirely, and ignoring its costume design and makeup, one of the most recognized and praised aspects of the film.
Anora is smartly shot and edited, balancing a boisterous, hedonistic, colour-filled beginning with the quick paced editing of
a whirlwind. It spirals out of control faster, and faster, until it shatters into a slow snowy end. There’s also an absolutely killer soundtrack, specifically featuring one of my favourite songs of all time, t.A.T.u’s “All The Things She Said.”
To no great surprise, Madison’s absolutely spectacular in the titular role, giving a layered performance to Ani’s every move. Mark Eidelstein as Vanya is also a revelation. He’s equal parts likeable and infuriating, a huge ball of energy that’s missed when he vanishes in the second act.
Yura Borisov gives an earnest portrayal of the hesitant sidekick Igor, and Baker’s long-time collaborator Karren Karagulian, whose depiction of Toros—Vanya’s glorified babysitter—drives one of the most comedic and tense scenes of the entire film, leaving his role as a priest during a baptism, to chase after the young billionaire.
The movie balances hilarity in Vanya sliding on floors in his mansion, reluctant hostage taking, the most awkward private jet ride of all time, and complete devastation in its gut-wrenching final scene. There are moments of pure shock throughout its runtime, either in the chaos of its outlandish twists, or its unflinching moments that ground you in Ani’s harsh reality. I had ripped off most of my nail polish throughout the runtime, so it’s safe to say my nerves were in shambles.
The second act—though entertaining to watch unfold—was so unexpected that I found myself feeling frustrated. Suddenly the audience is ripped away from Ani, and are served an entirely new plot. I wanted to be back in that dizzying first act so badly. Although the time away from her ultimately makes the third act more impactful, I think I needed a lot more time, and possibly a few more rewatches, to come to terms with this unanticipated departure.
Because of how sharply its plot turns, and how quiet its resolution comes, I think this movie is ultimately a divisive one. But, wow, is it fun, backed by incredible performances and stunning filmmaking. I totally recommend diving headfirst into the glimmering, sometimes nauseating, world of Anora and deciding for yourself.
Tags
Anora, Cannes, Film, Palme D'Or, Review, TIFF
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