The latest film by Sean Baker (The Florida Project), Anora, took home the Palme d’Or at this year’s Cannes Film Festival, immediately thrusting it into the Oscar race. It’s no wonder why, as Anora is equally hilarious and touching, offering some of the best screenwriting, cinematography, and performances of any movie to have come out this year.
Anora Review
The film follows Ani, a young sex worker from Brooklyn, who falls head-over-heels for her client, Ivan, with the couple deciding to marry impulsively, sending shockwaves through his oligarchal family. Although Anora does follow some familiar beats, Baker’s script presents such an invigorating and humanistic subversion of the genre’s tropes that it feels genuinely original and unique despite its references.
Perhaps the biggest surprise of Anora is that it is one of the funniest movies of the year. Red Rocket definitely had funny moments, but it was in a cringe-comedy way. Anora, on the other hand, is more broadly funny. The film has a lot of situational humor, resembling the old-school screwball genre, where genuine laughs come from wacky antics the characters get themselves into or simply the absurdity of what is happening.
The first half of Anora is a pretty straightforward romantic comedy following the escapades of Ani and Ivan. It ticks all the boxes — funny, romantic, sexy — coming across like a modern-day Pretty Woman set in the world of modern sex work. As with the rest of Baker’s filmography, Anora takes a refreshingly empathetic approach to these characters, neither condescending nor pitying, absolutely radiating empathy.
The second half morphs into something very different — a race-against-the-clock thriller (although still with plenty of absurdity). It is here that the more complex emotions come out as Ani is forced to reflect on and challenge some of her more idyllic views of the world. The final 20 minutes are a bit of a letdown compared to the first two hours, delivering resolution that feels perhaps a bit too direct, but it’s not enough to undermine the excellence that came before it.
Like Red Rocket was an incredible showcase for leading man Simon Rex, Anora gives Mikey Madison (Scream) an opportunity to give a powerhouse performance. She’s funny, sexy, and vulnerable, delivering every line with astonishing sincerity. It’s a role that feels very different from anything she has done in the past, but she approaches it with a ton of confidence and an undeniable presence that truly makes her the center of this movie’s world.
The supporting cast that surrounds Madison isn’t half bad, either. Karren Karagulian is a standout in his role as a fixer, having several of the funniest moments in the movie. But what makes Karagulian so funny is his subtlety. He takes a character that could have easily been an exaggerated caricature and plays it straight, making the humorous moments hit harder. Mark Eidelshtein is also very good, bringing a childlike charm to his character.
As with Bakers’s last two films, Anora is shot in 35mm, and it’s stunning to look at. Everything, from the scenes of the couple galavanting around Vegas to the dance sequences, is captured gorgeously by Drew Daniels. The juxtaposition in Baker’s movie is incredible, as the story he shows is occasionally very dark but — like its protagonist’s perspective on life — always sees the beauty amid its bleaker moments.
Is Anora worth watching?
Anora is yet another outing from Sean Baker that proves he is one of our finest directors working today. From humanistic writing to stellar cinematography and a star-making performance by Mikey Madison, Anora is straight-up wonderful. If you don’t walk away from this movie feeling absolutely charmed, you may not have a heart.
Anora played at the 2024 edition of Fantastic Fest, which ran September 19-26.
Anora Fantastic Fest Review — Sean Baker’s Sex Worker Comedy Is Hilarious and Empathetic
Mikey Madison gives an astounding performance in the hilarious, heartfelt, beautifully shot Anora, another incredible outing from cinephile-favorite director Sean Baker.
