Anora (2024)

Sean Baker | 2hr 19min

Although Ani demands not to be called by her given name in Anora, the film’s very title insists upon an outright refusal. As we learn in its closing scenes, her name means honour, light, and grace, yet she is quick to deflect from any further reflection on the matter. These aren’t just qualities she denies, but which she actively shields herself from, keeping her guard up lest she be taken as unseriously as she fears she deserves – a daunting struggle indeed for a stripper in New York City. As a result, she takes a quick liking to her lively client Vanya, if for no other reason than to revel in his naïve wonder and adoration of her every move.

Being the son of a wealthy Russian oligarch, the long-term security that his exorbitant privilege seemingly entails no doubt draws Ani’s eye, though this alone does not account for the raw chemistry between them. In Vanya, Ani finds an exuberant lover who wants to spend more than just a single night with her, and is even ready to prove his commitment by marrying her on a whim. Thus begins a whirlwind romance in Anora which at its most euphoric reveals her sensitivity, at its lowest draws out her insecurity, and demonstrates at every turn why that name she spurns so perfectly epitomises her fervent, resilient spirit.

The brand of spontaneous realism which defined Sean Baker’s previous films stands among the strongest elements of this modern fairy tale, continuing his compelling examination of sex workers beyond their flattened mainstream representations. For Mikey Madison in particular, it also allows for slice-of-life improvisations as she wanders through the bustling strip club and flirts with customers, demonstrating a savviness that has clearly been built upon years of industry experience. The red and blue lighting in this ambient environment is marvellous, while Baker’s jump cuts and handheld camerawork offer an excited restlessness that intensifies with Ani and Vanya’s burgeoning relationship. Montages of their escapades and lovemaking zip by with carefree elation, and when they finally get married on an impromptu trip to Las Vegas, Baker sets their celebration against a backdrop of colourful, exploding fireworks.

Within this blissful bubble, Anora also takes the time to pull its pacing back through long takes, calmly arcing the camera around the lovers as they talk about their future in bed. Romance is still in the air, yet these moments afford us some distance from their infatuation, bringing their differences to light. After all, nothing about Ani and Vanya’s mismatched lives can be separated from the context of where they have come from, the destinies written out for them, and their own character flaws – or at least, not for very long. This is not simply a case of society condemning star-crossed lovers after all, but of two young adults who do not even understand themselves, leading to a particularly complicated entanglement when Vanya’s parents enter the mix to put an end to their son’s reckless marriage.

No one here is truly blameless, yet still Baker finds compassion in the most unexpected places, using comedy to ease the tension that comes with the threat of an influential Russian family. Their trusted advisor Toros is the first to enter the picture, sending lackeys to investigate the authenticity of Vanya’s supposed marriage, checking his phone for updates during his godson’s baptism, and interrupting the ceremony with a stifled cry when his suspicions are confirmed. Meanwhile at the mansion, what seems like a straightforward job for the injury-prone Garnick and mild-mannered Igor rapidly gets out of hand when Ani refuses to go down without a fight, paying no regard to the powerful authority they represent.

Even after Vanya literally runs away from his responsibility, Ani is still not ready to accept that he is anything less than the man she is meant to spend her life with. As such, Baker dedicates the second half of his film returning her to a grim reality where sons of powerful Russian families simply do not marry American strippers. Much like Giulietta Masina’s starry-eyed prostitute from Nights of Cabiria, Ani considers herself a worldly woman who understands the desires of men, yet when it comes to matters of love, both are woefully naïve.

Still, as Ani gradually begins to see the entitled, immature side of Vanya, another much sweeter relationship begins to form. The compassion that Igor shows Ani can only go so far given the restraints of his job, but he may be the only person in this film who sees her as she truly is – neither an opportunistic gold digger nor a helpless victim, but a deeply vulnerable and complex woman. Opening oneself up to another is challenging for any young adult reckoning with personal insecurities, let alone one whose line of work manufactures intimate, transactional relationships, yet there is a comforting assurance to his unflappable composure. If there is anything that can break through Ani’s defences, it is not the shallow devotion of a Russian playboy, nor his parents’ threats to ruin her entire life. Kindness without expectation of reward is an overwhelming mystery to this forlorn romantic, and as Baker’s patient lens sits with the culmination of her heartbreak, it is this authentic show of sensitivity and grace that finally allows her to discover the same in herself.

Anora is currently playing in theatres.