By Julia Kelm
Anora (2024) is about a young sex worker from Brooklyn, Ani — Mikey Madison — who gets a chance to live a more luxurious life when she meets and impulsively marries Vanya — Mark Eydelshteyn — the son of a Russian oligarch. Once the news reaches Russia, her new life is threatened as Vanya’s parents set out for New York to get their marriage annulled.
Everything about Anora felt well polished and concise, while also feeling unique and non-generic. I had high hopes for the film in general going in, due to already enjoying writer and director Sean Baker’s other works, such as The Florida Project (2017).
Baker is known for his unconventional female protagonists, often telling stories of people who are normally looked down upon in society.
“It’s just a response to what I’m not seeing enough of,” Baker said in an interview with Letterboxed. “It’s very simple. It’s just that the reason that there are marginalized communities and subcultures and groups of people is because they’re ignored, and so the antidote to that is in just stop ignoring.”
Anora continues the theme of telling stories of people who aren’t seen in the mainstream as real human beings.
This film was my favorite of what I’ve seen from Baker so far. It’s clear to me that Baker’s directorial style is beginning to be perfected. While I did feel like the beginning of this film dragged on for the first 30 or so minutes, the second act of the film shifts dramatically when a group of henchmen arrive to confront Vanya and Ani about their marriage.
What was once an overstimulating whirlwind of strip club, party and sex scenes transforms into an almost goofy chase as Vanya makes a run for it upon learning that his parents are on their way.
I found myself laughing out loud multiple times, along with the other moviegoers at the Minor Theater in Arcata — which was a surprise to me.
I knew Baker had the potential to be funny. I definitely remember exhaling air from my nose when I saw The Florida Project for the first time. I would even call Anora a comedy at times. It is noticeable with the editing style, and how the characters — mainly Ani and the henchmen — played off one another.
Keep in mind this film does have its dark moments, delving into some important themes of female autonomy and sex work, so don’t go expecting a straight-up comedy or something.
Lastly, I want to mention just how good Madison is in this role. Ani has this Jersey accent that is heightened when she’s with her patrons, and less so when she talks to her sister in a few scenes. To me, that by itself showed her dedication to the role.
I left the theater resisting the urge to talk in that Jersey twang, just because of how angelic Madison sounded.
Also, from what I understand, the way Madison portrays sex work is fairly accurate, despite it being a more glamorized interpretation.
I wouldn’t mind if she grabbed that Oscar for best actress this year. However, I doubt she would be the academy’s first choice. Demi Moore seems more posed for the award due to her win at the Golden Globes. I also foresee if Moore does win, the Academy would get a fair amount of positive press — and publicity is all the Academy really cares about.
Julia is a journalism major at Cal Poly Humboldt. She loves film and is a regular on Letterboxd. To quote Robin Williams in her all-time favorite movie, Dead Poets Society, “The powerful play goes on and you may contribute a verse. What will your verse be?”
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