In the neon-steeped underbelly of New York City, Sean Baker's Anora erupts onto the screen like a fever dream. The captivating film grips the viewer with the intensity of a character study reminiscent of John Cassavetes, taking us on a thrilling journey through Brooklyn's complex world with the energy and style of a Wong Kar-wai scene. As the final frame dissolves into the ether, we're left not with neat resolutions, but with a myriad of existential inquiries that linger like smoke—a testament to Anora’s ability to transmute the quotidian into the sublime.

At its pulsing heart is Mikey Madison’s career-defining turn as the titular Anora, insisting she be referred to as Ani, in a firecracker of a performance. Madison does more than simply inhabit the role; she detonates it, her eyes flashing with a cocktail of desperation, desire, and defiance. Ani's attempts to shed her Russian heritage, even as she navigates the world of oligarchs and green-card marriages, speak to the complexities of immigrant identity in modern America. Yet, for all her bravado, Ani remains opaque—a cypher onto which Baker projects his exploration of class, capitalism, and the commodification of desire.
Madison brings a fierce intensity to the role, embodying Anora's complex mix of street-smart toughness and vulnerable humanity. Her portrayal is nothing short of electrifying, demanding both emotional depth and kinetic physicality that she delivers with astonishing skill.
Playing the titular character, a sex worker catapulted into a world of oligarchs and opulence, Anora becomes our guide through this modern-day Alice in Wonderland, where the rabbit hole leads not to whimsy, but to a labyrinth of entwined emotional complexity.
What begins as a would-be Cinderella story on acid—complete with a Prince Charming who's more frog than a fairy tale—quickly derails into a nocturnal odyssey that would make Odysseus himself reach for the Dramamine. When Anora's newfound husband Ivan, played hilariously by newcomer Mark Eydelshteyn, oozing charm and unpredictability in equal measure, vanishes, our heroine finds herself thrust into an unlikely alliance with Karren Karagulian’s Toros, a revelation, and his band of merry enforcers.
What follows is a film-long chase sequence that stretches across boroughs and hours, a kind of pixie nightmare fueled by desperation and vodka. Anora zigzags through the city like a taxi driver with a death wish, each turn revealing new layers of absurdity and pathos.
The film's narrative structure continues its boldly unconventionality, subverting audience expectations at every turn. Baker, the maestro of this urban symphony, orchestrates chaos with surprising precision. His script takes one daring pivot after another propelling Anora into an uncharted territory that sees it melding genres while his camera dances through dive bars and penthouses alike. His perceptive direction renders each frame a canvas splashed with the vivid hues of the film’s themes in all its messy glory.
But for all its comedic pyrotechnics and narrative gymnastics, Anora never loses sight of its beating heart. Anora is a film about connection in an age of commodification, about the human need for belonging in a world that's all too eager to reduce us to transactions. Baker navigates these nuances with a deft touch, never preaching but always probing, allowing his characters' actions to speak louder than any soapbox soliloquy ever could.
Ultimately, the frenetic energy of Anora’s chase gives way to something more contemplative, more melancholic. It's in these quieter moments that the film truly soars, as Ani and her unlikely companions confront the harsh light of day and the consequences their choices have wrought.
Thematically, Anora perhaps also acts as an underlying exploration of class and power. The film's depiction of sex work is particularly noteworthy, striking a delicate balance between acknowledging its harsh realities and respecting the agency of those involved. The film's ending too, eschews easy resolutions in favor of a more ambiguous, thought-provoking climax. It's a brave choice that may frustrate some viewers, leave some with questions yet somehow does feel true to the characters and the world Baker has created.
Baker also manages to navigate the complex power dynamics between Ani and the world she inhabits, from the strip club to Ivan's opulent mansion, highlighting the thin line between agency and objectification.
Ani's whirlwind marriage to Ivan, the son of a Russian oligarch, initially promises a fairy-tale escape from her life as a sex worker. However, her journey swiftly unravels, exposing the chasm between her Brooklyn roots and the glittering world of the ultra-wealthy. Through Ani's increasingly desperate attempts to claim her place in this alien realm, Baker deftly explores themes of class disparity and the mirage of upward mobility, while unflinchingly portraying the harsh realities faced by those who exist on society's periphery.
Is Anora flawless though? Of course not. At 140 minutes, it occasionally threatens to buckle under the weight of its own ambition. Some subplots feel like seeds planted in fertile soil but never given the chance to fully bloom. And yes, its unflinching depiction of sexuality and violence might send the pearl-clutchers running for the exits.
The film's final act slows down, honing in on Ani's enigmatic encounter with Igor—a moment that feels less like a resolution and more like a Rorschach test for the audience. While this ambiguity is intentional, it risks prioritizing intellectual intrigue over emotional impact. Baker's style, though mesmerizing, occasionally overshadows the narrative's deeper substance.
However, these quibbles do little to detract from the overall impact of Baker's achievement. In a cinematic landscape often dominated by formulaic blockbusters, Anora stands out as a beacon of originality and artistic daring.
Sean Baker's cinematic tour de force thus defies expectations. Anora delivers a raw, exhilarating ride that lingers in thought long after the credits roll. The Palme d'Or winner showcases Baker's evolution as a filmmaker and cements his status as one of the most exciting voices in contemporary American cinema. Anora, like all great cinema, demands to be seen and discussed, sparking conversations about love, capitalism, and the human condition long after the lights come up.
It's a work of art that defies easy categorization, blending elements of romance, comedy, and tragedy into something wholly unique and utterly compelling.
Anish Paranjape (he/him) is a student of Political Science and the Associate Editor of Entertainment at Political Pandora. His research interests encompass global politics and its influence on various landscapes, as well as an interest in film, television, and pop culture.
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Keywords:
Sean Baker, Anora Review, Mikey Madison, Brooklyn Neon Noir, Character Study, Immigrant Identity, Sex Work In Cinema, Class Disparity, Capitalism And Desire, Contemporary American Cinema, Wong Kar-Wai Influence, Cassavetes-Inspired Film, Existential Cinema, Indie Film Review, Modern Cinderella Story, Russian Oligarchs In Film, Palme d’Or Winner, Cinematic Originality, Urban Symphony, Class And Power Dynamics, New York City Underbelly.
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