Anora (2024)
Mikey Madison takes full control in Sean Baker’s newest film Anora. An homage to the classic Hollywood style with the glitz, glamour, and grit.
Anora follows Ani, a young Brooklyn sex worker, as she falls for Ivan, a Russian client who just so happens to be the son of a very rich Oligarch, and marries him while in Las Vegas, so he can stay in America. What occurs afterwards is a slapstick fight scene between Ani and the henchmen of Ivan’s father that turns into a wild goose chase for Ivan all around New York. The chemistry between Ani, Igor, Toros, and Garnick is so captivating and hilarious that you basically cannot look away. Anora ends with massive tonal shift as Ivan’s parents finally arrive in America to end this chaos. The reality of Ani’s situation becomes apparent; none of these people cared about how she felt about this arrangement, except maybe Igor. All they wanted was for it to end to save their reputations.
All throughout this film, Mikey Madison stands out amongst everyone. She has so much charisma as Ani that it practically seeps out of the screen. She could read a phone book in her Brooklyn accent and it would still be amazing. However, she gives more than just comedy in this film. Once she realizes that her escapades with Ivan are finished, and that he did not really care about her, she delivers so much emotion and vulnerability throughout the final act of the film.
This vulnerability also ties into the tonal shift of Anora’s ending. Igor has been tasked with taking Ani back to Brooklyn from Las Vegas. As they spend the night in the house Ivan had been living in, Igor tries his best to make conversation. The two of them are essentially in the same situation; they are both people who are used to do tasks for money. Still filled with anger towards Ivan, Ani lashes out at Igor for just trying to talk. This comes to a head when he drops her off at her house, possibly being the last time they see each other. Igor gives Ani the ring that was taken away from her, the one Ivan gave her when they married. At first, she doesn’t know what to think about this exchange. After some awkward silence between the two, Ani climbs into the drivers seat of Igor’s car and beings to do what she believes is right to do in the situation. She begins to unbuckle his pants and have sex with him. However, as he leans in to kiss her, she hits him. The film ends with Igor holding Ani as she cries, finally letting her emotions go.
This scene really puts Baker’s message behind this film into perspective. Sex workers are not seen as real people by many; they’re seen as people who just sell themselves for money or have no self respect. This is seen very clearly through the language of Ivan’s mother towards Ani, even when she is only trying to make a good impression. However, sew workers are real people with real emotions, and they should be respected just like everyone else.
Along with the stellar acting of Anora, the writing, direction, and the editing really shine as something both timeless and unique. You can tell that Sean Baker loves old Hollywood just with the way he films certain things. The way the glare from the sun will directly cover Ani sometimes is genius. One shot that keeps lingering in my mind is when she is sitting in the car and all of the lights of New York are flashing behind her. It perfectly demonstrates how she is feeling in that moment, all of this chaos behind her stone-cold demeanor. Anora is a film that perfectly fits into Baker’s catalogue of wildly charming projects, but is also one of a kind on its own. Go check it out if you have not already.