I knew almost nothing about Sean Baker’s Anora. And that made all the difference.
Coming out of the Cannes Film Festival, the buzz on the comic drama was enormous. The film received the Palme d’Or, the highest honor a film can receive at the festival. The win immediately catapulted the film, Madison, and Baker to the tops of awards lists. But, I suspect, putting all that aside is the key to loving the film. On the surface, it’s a straightforward exercise boasting great acting and several laugh-out-loud highlights, but a deeper appreciation of the tightrope the film walks comes when you don’t know much about it.
Anora stars Madison as Anora / “Ani,” an exotic dancer working in Headquarters (“HQ”) in New York City. Able to understand Russian, Ani’s boss frequently places her with Russian customers, which puts her into intimate contact with the incredibly wealthy / hopelessly spoiled Vanya (a hilarious Mark Eidelstein). And that’s where I’ll stop with the plot. The rest is too wild to believe.
This is Sean Baker’s absolute best film, hands down. All of his traditional filmmaking elements are here, but they’re blended more smoothly in a tricky combination of sex, comedy, action, and deeply felt emotions. Baker’s script and direction feel like finely honed weapons here, offering multiple set pieces that are pitched perfectly without ever feeling overindulgent. Baker and team understand not only the Russian enclaves around New York City but also the intimate details of the sex worker trade. Everything is handled with care and respect.
Madison (2022’s Scream, Once Upon a Time In Hollywood) never seems to have been given a role that demanded much from her. She’s always been good, but nothing felt like much of a stretch. The role of “Ani” feels custom made for her, and she inhabits it like a second skin. This breakout performance harkens back to Julia Roberts breaking through with Pretty Woman, a much lighter film Anora references multiple times. She’s sympathetic but strong. She’s incredibly tough but increasingly vulnerable as the film progresses (a late-film sequence set inside a snowy car broke hearts). It’s a virtuoso performance that will put her squarely in contention for Best Actress this year.
You will love Anora if you ignore the buzz and expectations and just go along for the very accomplished ride. Smaller films of this kind always seem to suffer from bloated expectations by the time audiences can see it. And, yes, I’m aware I’m likely heightening expectations with a very positive review. Just put this out of your mind as soon as you read it.
A blinders-on experience delivered Anora as one of the very best films of the year.
Neon will release Anora on October 18.
My early favorite for the win