As a film critic with over three decades of experience under my belt, I can confidently say that Sean Baker’s latest masterpiece, “Anora,” has left an indelible impression on me. The characters in this film are so richly drawn and lived-in that they feel like real people you might encounter in your daily life – even the deliciously wicked Diamond (Lindsey Normington), who is a straight-up asshole but executed with such style and panache by Normington, that she becomes unforgettable.
In 2024, for Americans under the age of 40, it seems the American Dream has been replaced by a struggle for survival. The younger you are in this nation, the more financial hardship you’re likely to face, merely trying to survive from one day to the next. For instance, homeownership, once a common milestone for individuals in their late 20s/early 30s, might remain an unattainable goal for Generation Z and those who follow. I myself, having experienced unemployment since late February, have spent the past eight months grappling to keep afloat and avoid losing my apartment. Nights are often filled with worry about potential homelessness, while hunger is a common companion during weeks when stretching groceries becomes necessary.
As a gamer, I’ve been dealing with some tough times. Many of my peers and younger folks find themselves in an equally challenging position. We all possess the same talent, ambition, and dreams that previous generations did, but we lack the economy, job market, and environment to actualize these aspirations. Instead, we’re just scrambling to cover this month’s rent or health insurance bills. Stable employment feels like a bedtime story. Our lives – cut short by the class system we were born into – are focused on mere survival. The chasm between the rich and the poor is widening, making this American reality all the more stark.
Living under such circumstances where student loan debts heavily influence the course of your life, it frequently brings to mind the lyrics from the Oneohtrix Point Never song “The Pure and the Damned”: “I’ve got no control over my own fate, I’m just a puppet on a string.
Every day I ponder about unraveling and disentangling these threads that bind me
Anora “Ani” Mikheeva (Mikey Madison) has some understanding about dreams that are hard to grasp. Her character performs as a dancer at the Brighton Beach strip club, Headquarters. This job provides her with some income and she’s exceptionally talented in her field. However, working at Headquarters barely covers the bills for her struggling life on a shoestring budget shared with a roommate. A turning point comes when a 21-year-old Russian man named Ivan “Vanya” Zakharaov (Mark Eydelshteyn) enters the scene. Equipped with a vape pen and an eager expression, he is initially matched with Ani due to her being the only staff member who speaks Russian.
Initially, their relationship begins as a business transaction, with Vanya, who lives in a grand mansion due to his wealthy family background, paying Ani for future intimate encounters that later turn into her pretending to be his girlfriend for a week. Though the arrangement starts off as purely financial, they gradually grow fond of each other. On a trip to Las Vegas, they impulsively decide to get married – a classic Vegas wedding. It seems that things are looking up for Ani, with love and financial stability in sight. However, Vanya’s parents are against the marriage due to her profession as a sex worker. They send their associates, Toros and Igor, to nullify the situation. If they think Ani will give up everything she’s gained without a fight, though, they have underestimated her determination.
Sean Baker, the filmmaker behind the scenes for 24 years, has been creating movies that provide an unblinking look into the lives of people from the working class, a group often overlooked by Hollywood. Through this work, he’s achieved many artistic milestones, one of which is painting morally complex portraits of characters who usually have to be exemplary citizens to gain sympathy in America. The nation’s disregard for the less fortunate (as evident in the frequent use of the term “welfare queen”) means that movie characters with financial struggles often need to act like saints to be considered likable. However, Baker’s films boldly reject this notion. For instance, the main characters in ‘Tangerine’, ‘Starlet’, and ‘Prince of Broadway’ exhibit behaviors such as stealing food, building relationships on lies, and abandoning a baby in a restaurant respectively – actions that defy the conventional expectation for likability.
As a gamer diving into the world of Anora, let me tell you, this game doesn’t shy away from showcasing complex, authentic human characters that Baker adores. It subtly communicates that ordinary folks, even those not conventionally “perfect,” can captivate your attention in the most dramatic ways. This theme is skillfully carried forward in Anora. If you’re a guy who flinches at strong-willed women speaking their minds, you might want to look away. The protagonist, Ani, is exactly the kind of tough, sexually assertive heroine audiences crave but seldom receive. There’s something incredibly captivating about this character. What truly blew me away, though, was how Ani manages to operate in a paradoxical manner.
1) Ani represents what we all strive to be. Look at her fearless attitude as she delivers lines like “jealousy is a sickness, darling,” or her blunt honesty when dealing with high-class figures such as Toros and Igor. Despite their social superiority, she never hesitates to hurl insults and threats at them. Who wouldn’t dream of having that courage? At the same time, there’s a captivating scene where Ani and Vanya are gleefully celebrating their marriage in Vegas, with the camera gracefully circling around and the Robin Schulz remix of Take That’s “Greatest Day” playing loudly. This entire scene is incredibly emotional, a tangible embodiment of romantic bliss that everyone desires – the joy and love we all yearn for.
At the same time, Ani serves as a character who vividly illustrates the vulnerabilities of the working class. Scenes where she struggles silently with her economic powerlessness are particularly poignant and stir emotion. In her eyes, there’s a reflection of capitalism’s inescapable grasp that I often see mirrored in my own. These moments of vulnerability resonate deeply, especially after we have admired Ani from afar as a symbol of vicarious living. Even characters in idealized scenarios are not immune to the whims of the wealthy. Through Ani, I saw a reflection of who I aspire to be and a comforting reminder that I’m not alone in feeling trapped by America’s financial rigidity. The writing of Baker and Madison’s performance, both masterfully executed, capture these dual qualities perfectly.
Discussing disparate elements performing exceptionally well, even the surprising comedy aspect of the film Anora is commendable. Previously, Baker’s films have been known for their humor, particularly the dark comedy in Red Rocket. However, he has never showcased such keen visual wit as he does with Anora. Upon Toros and his gang’s entrance into the narrative, the film takes on a slightly zanier tone. The incorporation of physical comedy, coupled with explorations of gender and class roles, mirrors the style of directors like Ernst Lubitsch, Howard Hawks, and Sam Woods. Farewell to these legendary filmmakers. You would’ve been chuckling at Borisov’s subtle portrayals of Igor’s growing fatigue dealing with Ani.
In this production, some of the most effective jokes stem from intricate visual gags masterfully crafted by editor Baker (also responsible for Anora) and cinematographer Drew Daniels. They have a clear affection for expansive framing. If you’re tired of contemporary comedies relying on close-ups and dull lighting, Anora offers a refreshing burst of energy that revitalizes your spirit. For instance, there’s a hilarious moment when Ani and Toros are having a heated argument on one side of the wide screen. On the other side, Igor is casually tinkering with a metal bat without making a sound. I was shocked to be the only one in my theater chuckling at this joke, which seemed to thrive on the image’s spaciousness and length. The show is filled with numerous cleverly orchestrated visual gags that consistently amuse and tickle your funny bone throughout Anora.
Just as the funniest Anora jokes rely on subtle nuances, so too does the movie subtly and effectively evoke its most poignant emotional moments. One of my favorites is the portrayal of Ani’s closest relationship, which is her friendship with fellow stripper Lulu (Luna Sofía Miranda). Throughout the film, they are inseparable, even in unfamiliar settings like Vanya’s party on New Year’s Eve where they’re constantly seen as one entity. When the ball drops, they’re holding hands. Before entering the party, they check each other’s outfits and offer reassurance (“do my tits look alright?”). They are a tight-knit duo in this foreign environment. Lizzie Borden would be proud to see such a heartwarming depiction of women sex workers supporting one another quietly and movingly in Working Girls!
Lulu is among the many captivating side characters in the movie, Anora, that’s a joy to observe on-screen. Every character in this film seems authentic and well-developed, filled with intricate details hinting at complex lives beyond Ani’s present predicament. One of the most entertaining of these personalities is Diamond, played by Lindsey Normington. She’s a tantalizingly wicked stripper who serves as Ani’s main rival at Headquarters. Normington brings an exuberant flair to her character, delivering lines with a delightful excess and maintaining a boldly antagonistic demeanor. It’s invigorating to see such an authentic jerk in a modern film. Normington performs the role with an unforgettable style and panache.
In a heartwarming twist, the charming side characters and hilarious antics of Anora contribute to this film being Sean Baker’s first crowd-pleaser. However, as Ani’s life descends into chaos, the emotional impact of the movie becomes increasingly intense. Madison, portraying Ani, delivers a poignant performance that makes us root for her and Vanya to stay together. There was a risk that this tough Brooklyn woman with a constant chewing gum habit could have turned into a caricature, but Madison breathes life into Ani, making her a captivating figure on screen. Every aspect of Ani’s story is infused with Madison’s passion and dedication, leaving us mesmerized by her assured performance. When Ani confronts Toros and company in a heated exchange or any physical scene, Madison’s performance is nothing short of spellbinding. Her ability to give substance to Ani’s greatest hardships kept me fully engaged throughout the film. In essence, Madison’s portrayal of Ani immediately captivated me with her raw emotion and depth.
Exiting Anora, I was taken aback by how deeply it affected me compared to other films like Saw X and Terrifier 2. While those movies left me unfazed and without any lingering nightmares, Anora stood out. Primarily, director Baker’s latest work delves into the suffocating nature of capitalism that leaves us all yearning for fleeting human connections to help endure its harshness. In this world, lasting peace and happiness are elusive due to the vast chasms between the wealthy and the less fortunate.
Previously, the ending of The Florida Project was used to imply that genuine joy can only be found within fantastical scenarios. However, in this story, there’s no escapade to Disney World to soften that truth. Instead, Anora fearlessly portrays how fleeting happiness can be for the working class, even before things spiral out of control with Vanya. Prior to some henchmen associated with Vanya’s father intimidating Ani, this young man from Russia was already exhibiting behavior such as playing video games instead of cuddling with Ani or criticizing a casino hotel manager. The indications of potential trouble were clear. As an old saying goes, “When you view someone through rose-tinted glasses, all the warning signs just appear as signals.
As a gamer, let me tell you, Anora’s a mind-blowing flick. I’ve got to mull it over a bit before deciding if it tops Baker’s masterpiece, Tangerine, for me. But one thing’s for sure, it’s among his most remarkable achievements in an already stellar career. What truly struck me was the raw portrayal of contemporary American economic divide that left me feeling uneasy. Anora offers uproarious laughter by the bucket-load. Yet, it also poignantly shows how joy for today’s youth is often an illusion, like a mirage we’re all chasing. We’re all seeking “a clear sky” to make life bearable. However, achieving that “sky” seems impossible given the tight grip the villains in Anora – the bourgeoisie, older generations, and societal norms that dehumanize marginalized individuals (like sex workers) – have on our society. But hey, dreaming of some stability amidst all this chaos… it’s a lovely dream, it truly is.
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2024-10-31 19:15