We Asked Anora’s Yura Borisov About That Final Scene Inside the Car

As I delve deeper into the world of film and interviewing fascinating personalities like Borisov, I am continually amazed by the richness of experiences each individual brings to their craft. Borisov, with his humble beginnings and meteoric rise to fame in Russia, has an undeniable charisma that shines through even amidst the raw energy of his characters.

Spoilers follow for the film Anora.

In the second part of “Anora”, we delve into Mikey Madison’s character, a dancer and sex worker who has been abandoned, mistreated, yet resiliently endures. We don’t just witness her struggles through our own perspective, but also that of the Russian enforcer hired to control her, named Igor. If there is an audience stand-in character in Sean Baker’s film, it’s Igor, portrayed by Yura Borisov as a quiet, resigned heavy. Throughout the movie, Igor develops feelings for Ani that climax in a mysterious sexual encounter. Madison portrays Ani with her emotions raw and exposed on her face; Borisov, on the other hand, is more subdued and reserved. By the end of “Anora”, as Baker connects them against Ani’s abusive husband and family, it becomes apparent that they truly understand each other – maybe the only ones who can.

Initially, the relationship between the characters is tense. Upon instructions from his associate Toros (often working with Baker’s character Karren Karagulian), Igor restrains Ani in the house she shares with her new husband, Ivan – a U.S.-based oligarch heir that Toros is responsible for. Toros believes Ani to be a gold digger and warns her of legal consequences if she doesn’t annul her marriage to Ivan. A long night filled with searching for Ivan, who fled upon Igor’s arrival, passes without significantly altering Toros’s opinion of Ani. However, Igor’s perspective shifts subtly, which Borisov skillfully portrays through subtle gestures: a nod of approval as Mikey swears at their captors, an offer of vodka. Although it may seem inappropriate to wish for them to end up together, the authenticity and sensitivity Borisov brings to Igor’s character make it seem fitting.

In our conversation over Zoom, Borisov – a well-known Russian actor who gained recognition in the West for his role in the 2021 Palme d’Or winner “Compartment No. 6,” and was one of the second actors cast in “Anora” following Karagulian – shared insights about working with Baker and Madison, celebrating the spring equinox Russian-style with Eydelshteyn (his roommate during filming in New York), and the challenges of shooting the climactic intimate scene between Igor and Ani. However, when it comes to his speculations about whether their characters explore a relationship, Borisov prefers to keep those thoughts private. “It’s something for everyone to interpret,” he says, “and for me, that’s the beauty of art – allowing our imaginations to run wild and embark on an inner journey of discovery.

Did you recall your initial encounter with Sean? It seems we had a virtual meeting through Zoom. That was my first interaction with an American director. He mentioned he appreciated Compartment No. 6, and then asked if I’d be interested in a film centered around a girl surrounded by Russian men. At that point, I wasn’t familiar with his work or him personally. Later, I started watching his films and found them engaging. It was his cinematic energy, rather than the script itself, that drew me to the project.

So, to clarify, during that initial encounter, it doesn’t seem like he shared anything about Igor with me. However, for me, the connection and feeling a director’s spirit is crucial. If I watch a movie and sense the director’s soul, then I’m captivated. Sometimes a film might be excellent or not, but what truly matters is whether it stirs some emotion within me. [Laughs] In his films, I can definitely feel that energy.

After waiting several months to read the script, I must say my initial feelings about the movie and Igor weren’t particularly strong. To me, it seemed more like a common story in America, not something truly classic. However, I believe it could be an extraordinary experience due to its complex characters and numerous scenes. My character doesn’t appear until the second half of the story, and Igor’s birth was developed later during our time in New York. The filming process offered a great deal of creative freedom and plenty of room for on-set improvisation, with Igor’s development happening throughout this entire experience.

As for me, Igor frequently observes Ani, while Sean often focuses on you to show how you respond to her and the events unfolding. Were there particular emotions you wished to convey when gazing at her? Did you spend a considerable amount of time planning your reactions to her? To tell the truth, it was quite natural for me; I simply looked at her and that was all. [Laughs]

In essence, what I’m grappling with is a state of overanalysis. Here’s another perspective: I find myself dwelling excessively on it. But isn’t it fascinating? You see, when you observe someone, they are constantly evolving, and so are you, synchronously. For Igor, Anora serves as the focal point. Essentially, all I need to do is maintain my focus on her.

Did a scene in the movie ever make you think Igor might have developed feelings for her, and did you feel like expressing your perception of his affection?

As a film enthusiast, I find it quite evident that Igor’s focus on her is more than just casual interest; it’s a demonstration of his affection. To me, it seems like he’s not only showing her what she needs but also shielding her from the rest of their group when necessary. [Smiles] If she desires solitude at times, he appears to be ensuring that space for her. When protection is required, he provides it. And if she needs someone to converse with, he’s more than willing to engage.

I’d like to inquire about the conclusion since Sean mentioned that it’s subjective and can be understood in various ways. Personally, I haven’t formed any opinions yet, as my feelings come from within rather than externally. However, I’m curious about how you perceived it. To me, it seemed as if Ani might have been expressing affection for Igor, but that’s just my interpretation. Since the ending is open to individual understanding, I prefer not to discuss it with others who have seen the movie, and instead let each person interpret it on their own, as I believe this enhances the artistic experience when one’s imagination takes over and explores their personal journey within the narrative.

As a cinephile, I must admit, the film left room for interpretation, which I appreciate. Now, let me throw a question your way – might there be a chance that Ani and Igor cross paths once more in the future? [Laughs]

I must make an attempt! In a conversation, let’s give it a shot, but during an interview, I prefer not to, as it might not hold the audience’s attention compared to what I can convey through my words.

Of all the scenes in the film, which one proved to be the most challenging for you? The one inside the car during the final scene took us considerable time and effort to get right. It’s an emotionally intense moment, and each take significantly impacts the overall tone of the movie. We filmed multiple takes, frames, and angles, striving meticulously to provide Mikey with various options for capturing the perfect emotional intensity for the climax. This process was lengthy, spanning more than a day. It’s a crucial scene for Anora’s character, and Mikey delivered a powerful performance that resonates deeply when viewed on screen just once. However, to achieve that single, impactful moment, we had to film it numerous times, which can be emotionally draining. Despite the difficulty, I’m grateful for the experience as I believe it resulted in a unique and moving scene.

Is there a particular scene that stood out to you as being the most enjoyable? For me, it was capturing moments spontaneously – whether on the street or in restaurants – with a camera, much like a reality show. Characters are present with their objectives, and it feels like live theatre unfolding naturally.

Did an article in The New Yorker mention that you were frequently recognized by fans during the filming of your movie? Did this catch you off guard given your fame in Russia?
Yes, it was mostly Russian fans. Not at all surprising, as I am well-known in Russia. However, I’m not particularly pleased about it because the recognition detracts from my character, Igor. In an instant, when someone recognizes me, I’m reminded, “Oh, yeah,” which takes me away from my role in that moment.

In the movie, Igor is referred to as a “gopnik.” For those who don’t speak Russian, a gopnik can be roughly translated as a young, often working-class man who lives on the streets or in housing projects, and is known for being rough, aggressive, and not very intelligent. [Smiles]

Did you suggest Mark for this project? You two resided together during the filming process. He refers to you as an older brother. Can you recall a specific moment from living with Mark that encapsulates your bond?
One memory I have of our time spent together in upstate New York is when we celebrated a Russian holiday by making pancakes. This day marks the end of winter and the start of spring. We crafted a symbolic winter doll, burned it, then cooked pancakes with Mark. It was his first experience making them, and I showed him how: “You need two eggs, some sugar, salt, mix it like this, and try to cook it that way.

Is the film now available in Russia? This isn’t your typical action-packed American blockbuster, like “Fast & Furious,” where you find little cultural depth and just spectacular effects. Instead, this movie showcases American culture, providing a unique glimpse of America for some viewers who may be experiencing it for the first time on screen. As the reviews are still coming in, it’s hard to gauge the public reaction at the moment – I need some time to fully understand the audience’s response.

Maslenitsa is the Russian spring-equinox celebration. It involves burning an effigy that is meant to symbolize winter, and blini (what Borisov is referring to as “pancakes”) symbolize the coming sun.

2024-11-15 18:54

We Asked Anora’s Yura Borisov About That Final Scene Inside the Car

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