It’s No Wonder That Everyone Falls for Anora

As a seasoned film enthusiast with over three decades of cinematic exploration under my belt, I must admit that Sean Baker’s masterpiece, “Anora,” has left an indelible mark on my soul. This film is not merely about the interplay between characters; it’s a poignant commentary on labor, exploitation, and the human condition, cloaked in the vibrant garb of a high-concept comedy.

This review was first released on May 27, 2024 at the Cannes Film Festival. We’re sharing it again now as Anora is now playing in cinemas.

Sean Baker’s “Anora,” which was awarded the Palme d’Or at Cannes over the weekend, is a movie that delves into the ways people interact with each other, although this may not be immediately apparent. The narrative unfolds during an eventful period in the life of a stripper who marries the young heir to a billionaire Russian oligarch, and it exudes a lively, unpredictable energy reminiscent of an upside-down high-concept comedy. It could be described as modern-day screwball humor. During the post-award press conference, Jury president Greta Gerwig mentioned that the film brought to mind “the classic structures of Ernst Lubitsch or Howard Hawks.” While there are similarities, “Anora” also features a growing web of gazes that places it in another cinematic category. This is a film that explores themes of exploitation and labor.

In their initial encounter at New York’s HQ Gentlemen’s Club, Ani (Mikey Madison) encounters Ivan (Mark Eidelstein), a young man who flaunts his wealth and requests a Russian-speaking dancer. Despite her reluctance to use the Russian she learned from her immigrant grandmother in Brighton Beach, Ani is drawn to Ivan’s lively personality and his resources. Intrigued, she approaches him and expresses her unconventional approval by removing her thong while dancing in his lap. He responds with an enthusiastic “God bless America!”, and she nonchalantly pops a piece of bubblegum. The atmosphere suggests that the Star-Spangled Banner could start playing at any moment.

In a thoughtful manner, the movie, “Baker,” has meticulously unveiled the inner workings of this club and its diverse clientele: from the elderly married couples, the shy young men, those who engage in conversation, and those who evoke memories of Jeffrey Dahmer. The setting exudes a genuine, lived-in feel, undeniably borne out of thorough research. As Lindsay Normington, a co-star, recently told Rachel Handler in an enlightening interview with several supporting actors, “It’s going to be quite challenging to find another movie where they provided so many jobs to real strippers.” The film showcases the dynamics among these women, who are always courteous and attentive to their clients, and reveals their shared moments of tranquil camaraderie as well as occasional rivalries. (One stripper chides Ani for dancing for one of her regulars.) This implies that Ivan’s youthfulness, vitality, and generosity may set him apart from the rest.

Shortly, Ivan invites Ani to join him at his extravagant estate, where he hosts parties, has private planes, limousines, drugs, fireworks, dancing, and recovery sessions with IV drips – all presented in a dizzying whirlwind, mirroring the disoriented state Ani finds herself in. So, when Ivan proposes marriage unexpectedly in Las Vegas, we’re caught up in the dream rather than fearing it might become a nightmare. The uncertainty on Madison’s face as Ani agrees, despite her confusion and hope, speaks volumes.

In essence, Ani shares a resemblance with Ivan’s service providers – the cleaners, bedmakers, and even the hotel staff who had to accommodate Ivan’s last-minute room changes. Despite her attempts to distance herself, it appears that most people don’t perceive Ani as being on a different level. Regrettably, this perception eventually reached Ivan’s family members, who labeled her as a cunning prostitute trying to swindle Ivan and his family out of their wealth.

Throughout Anora, we often find ourselves filled with a deep sense of apprehension, anticipating the impending event. The characters who arrive to dissolve this union echo typical figures from numerous genre films, stirring feelings of familiarity, admiration, and dread. Among them are Toros (Karren Karagulian), serving as Ivan’s parents’ informant in New York, the burly, bearded Garnick (Vache Tovmasyan), and the brooding, vigilant Igor (Yuriy Borisov). However, Baker, with his empathetic nature, recognizes that they are simply laborers, striving to survive each day without losing their jobs. Toros is already in trouble with his superior for allowing the nobleman to wed a prostitute.

In Anora, the enchantment really unfolds, as situations become chaotic and the storyline veers off in unusual directions. Baker’s work has a spontaneous feel to it, though it may just be an illusion. The films seem to shun the constraints placed upon them, much like their characters. A scene that would usually last only a few minutes in a regular movie might stretch to 20 minutes here. A tense moment could suddenly be relieved, while a casual conversation might escalate into a lengthy argument. There are dramatic moments in Anora, as there are in all of the director’s films, but they don’t seem contrived – they feel like real life unexpectedly intruding and disrupting the storyline.

But the danger never quite dissipates, and the threat of violence still hovers over Anora. Baker never loses sight of the fact that all these people are, in the end, disposable to those with power and money. They each serve a purpose and can be discarded at whim. That too adds to the frenetic energy of the film: For all its charm, Anora is a movie in which just about everybody’s fighting for survival, and they only ever manage to succeed when they start working together. Baker has made a number of pictures about sex workers, and he dedicated his award at Cannes to them. Why is he so fascinated with such settings and characters? I suspect it’s because their world crystallizes the transactional nature of so much of our lives.

2024-10-18 21:53

It’s No Wonder That Everyone Falls for Anora

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