Where do I even begin with Anora? For all the hype I’ve seen about it going in, it’s a film that took me by surprise and left me completely speechless. Since leaving the theatre – almost a full week ago now – there hasn’t been an hour in a day where I haven’t thought about this film. But, I suppose I should start at the beginning.
Anora starts off just as you’d expect it to. The titular character, who prefers to go by Ani, is a New York based sex worker who lives in a small apartment in Coney Island and works nights at a nightclub in the city. She takes pride in what she does and it’s clear off the bat that she is satisfied with her situation in life. That doesn’t mean that she would pass up on an opportunity to move upwards in society if one came by. And when Ivam, the son of a Russian oligarch, stumbles into her workplace, the opportunity presents itself. Once their paid arrangement starts, it takes no time for this reckless 21-year-old guy to become infatuated by her, and propose shortly after. They get married on a whim in Vegas, Ani’s path to security and wealth secured through a marriage that, honestly, seems lovely. Ivan is genuinely good, even if completely removed from reality, and seems to be entirely in love with her. The issues for the pair begin, however, when rumours of their marriage reach Ivan’s parents in Russia who then send their people to get the marriage annulled.
The first hour of the film is a romantic comedy, no doubt. It introduces the threads it eventually sews into something bigger but it could also stand on its own in the romcom genre and I would have been highly entertained.
There is an element of screwball in there, too, visible in ways in which the film critiques – or depicts – the upper class. However, where screwball traditionally takes an upper class woman and makes her fall in love with an oblivious working class man, Anora reverses the roles. The man – or the boy, really – is still oblivious, although wealthy this time, and the woman is still just as sharp and intelligent as any screwball comedy heroine would be, but she is no longer a spoiled heiress. It flips a classic trope on its head and adds modern elements to it, ones that wouldn’t have gotten past the Hays Code in the screwball era. It’s a fun way to bring some classic elements and tropes into play, allowing for a first hour of the film that feels familiar, perhaps obvious, but different enough to draw you in for the wild ride that is the rest of the film.
And a wild ride it truly is. There is a point in the film when the switch flips. The romcom becomes an action film in ways unpredictable but delightful. The supporting cast are terrific, as are the physical gags and utterly ridiculous line deliveries. The ‘battle of the classes’ is still present, it is an overarching theme of the film, but the gags and the laughs allow you to forget it for a moment at a time and to just have fun. My theatre laughed a lot and each and every one of those laughs was deserved.
I thoroughly enjoyed the direction in this part of the film. It’s dynamic, with perfectly timed cuts, and there is a specific character’s introduction sequence that I’ll probably remember forever when thinking about purely, genuinely fun moments I’ve experienced at the movies. Perhaps a part of the fun with Anora – because it truly is such a fun film – is its ability to seamlessly switch genres yet stay so present in the moment and clear with its message. It’s not messy, it’s not confusing, but it’s wonderfully unpredictable in its refusal to stick with one style.
Mikey Madison is undoubtedly the star of the show. She commands every scene she is in, displays contrasting – or maybe complementary – levels of emotional vulnerability and determined fierceness that run the narrative and engross you as the viewer into the story. It’s not a doubt either that Sean Baker made a great film here but when the awards season rolls around, I expect Madison to be the centre of attention. This year’s best actress category is shaping up to be incredibly strong with many big names already in the conversation – Amy Adams, Angelina Jolie, Nicole Kidman, Julianne Moore, just to name a few – but newcomer Mikey Madison just might run away with it in the end. I’m not going to be surprised when she does.
Mark Eydelshteyn shines as Ivan, too. While I don’t expect him to be in focus during awards, he is great comedically and does a wonderful job portraying Ivan’s juvenile charm and utterly spoiled behaviour. In more intimate moments, working opposite Madison, he shows unexpected levels of emotionality and depth.
A lot of the credit goes to Sean Baker for both performances. He seems to be a director that’s able to bring out the best in his actors but it’s ultimately them – the actors – who make or break a film like this because, at its core, Anora is a character study. It’s a story about a normal person, though one from a marginalised community, in extraordinary circumstances and it is the authentic performances from its cast paired with clever dialogue and dynamic directing that make this character study as engaging as it is.
When the film comes to its end, one that so perfectly and beautifully caps off the story yet one that I never would have predicted, Madison is the star, delivering a final scene performance so strong and poignant that you could have heard a pin drop in my theatre. A full minute of the credits went by without a single sound from the audience. It was a silence that was earned. It was a silence that was needed. And it was a silence that I think every single person in that theatre cherished.
If this review still hasn’t convinced you just how much I loved Anora, let me mention that I already have a ticket booked to see it at another preview screening next week ahead of its full theatrical release on the 31st of October. I have a feeling Anora will only get better the second time around.
Entirely agree with all of this. Absolutely loved it - hope we get to watch it again soon.