Golden Globes. BAFTA. The Academy Awards. As awards season steadily approaches, Hollywood needs to watch its back. There’s a small indie film quickly capturing the hearts of the millions who’ve seen it and can potentially sweep away much of the competition.
Premiering at the 2024 Cannes Film Festival this past May, director Sean Baker, widely recognized for 2017’s “The Florida Project,” unleashed his next cinematic triumph with “Anora.” Winning the Palme d’Or, the award for Best Feature Film at Cannes—arguably the most prestigious award a film can receive—“Anora” marks the first time in over 10 years for an American film to receive the honor.
I had no idea what to expect going into the film. “Anora” deals with sex work, a mature subject American directors can be shy about addressing. I expected the film to take a dark, twisted direction at some point throughout its 139-minute runtime, but, thankfully, it never did. Instead, what followed was a far more effective, hilarious and heartbreaking film than anything I could have anticipated.
The film follows Ani, a young sex worker in New York whose life is forever changed after meeting Ivan, the spoiled, wealthy son of a Russian oligarch. The two spontaneously get married, but their relationship is challenged after the news spreads in Russia, causing Ivan’s parents and their goons to track Ani and him down to get their marriage annulled.
Nothing could’ve prepared me for the hilarity of “Anora.” It’s a hectic, colorful, screwball comedy, almost like a bizarre fusion of the Safdie Brothers’ stress-inducing “Uncut Gems” and the loony Robin Williams and Nathan Lane-led “The Birdcage.” Midway through the film, there is a masterfully crafted 10-minute sequence in which Ivan’s father’s goons attempt to contain Ani, which goes disastrously. I can’t remember the last time I saw a film where the entire audience consistently erupted in laughter throughout its runtime, but it only made the pin-drop silence during its sudden, bittersweet conclusion all the more powerful.
Beyond the wacky, dreamlike world of Ani is the bitter reality of “Anora.” As funny as it is, a heartbreaking tragedy is lingering beneath the surface. It is easily the best blend of comedy and tragedy I’ve seen in a movie since 2019’s “Jojo Rabbit.” And as contrasting of styles as they are, the film makes it all feel so seamless.
“Anora” never demonizes sex work. It takes a more nuanced examination of it, commenting on the deeper tragedy and stigma surrounding the topic. Ani is a naive, mean-spirited protagonist whom we can’t help but empathize with due to the cold conditions of her reality. Many characters do not take her seriously due to her career, and she barely receives any respect throughout the film. Yeah, she’s mean and often acts out selfishly, but do we have a right to judge her for it?
Baker drenches “Anora” in a bitter cynicism that makes Ani’s world all the more cold and unfair. I appreciate Baker’s decision to make Ani and Ivan disreputable leads in the movie. I found neither of them likable, which also applies to nearly all of the characters in the film, but that fact serves as a testament to the effectiveness of the cast’s performances.
Mikey Madison plays Ani in a stellar performance worthy of an Academy Award. Although often disregarded by the other characters, Madison stands out as Ani with an electrifying, charismatic presence that dares you to ignore it. Although her character is often mean-spirited and, at times, annoying, I couldn’t help but feel mesmerized whenever Madison dominated the scene.
Mark Eidelstein brings a hilarious hyperactivity to his character, Ivan. Eidelstein perfectly replicates the behavior of a spoiled brat who was never told “no” in his life, totally immersing himself in the role. His constant obnoxious outbursts really sell the character to the audience.
Surrounded by the film’s chaos is the quiet Igor, one of the goons working under Ivan’s father, but he is also the only kind-hearted and selfless character in the film. Played by Yura Borisov, who spends most of the film quietly existing in the background, we still can feel his presence in every scene he’s involved in. Baker includes many uneventful shots of just Ani and Igor, but Borisov delivers such a proficient performance that we can feel the heart of his character solely through his eyes.
With a character such as Igor amidst the film’s pessimistic cynicism, Baker reminds us that people, regardless of their circumstances, are still worthy of receiving kindness and respect.
“Anora,” simply put, is magnificent. It contains a remarkable cinematic experience, unlike anything I’ve experienced in years, maybe ever. “Anora” is more worthy than just the Palme d’Or, and confidently stands amongst the best films I have ever seen.
5/5
