“Anora” Review

Sean Baker’s films have always had a live-in quality of realism, but Anora goes the extra mile with its furious humanity that never relents. The energy is high enough that this film could easily be a mad-dash comedy around the nightlife of New York City. While it certainly has all the right beats, there’s a fervent nature to the characters and dialogue that transcend mere absurdity via chaos. There’s a beating heart to this film and teeth that chomp hard, never relenting this unorthodox adventure to a simplistic farce.

That daring tone is perfectly encapsulated in the film’s titular character (Mikey Madison), a New York City stripper trying to land money with boobs out and hips shaking in the club. She lands the biggest fish of all when a young Russian, Ivan (Mark Eydelshteyn), strolls in looking for a good time. Anora, or Ani as she prefers, is the perfect match for her Russian background and being able to speak the language. Ivan takes great interest in Ani and is willing to pay thousands of dollars for many nights of sex, especially his New Year’s Eve party at his plush estate. Those nights turn into a trip to Las Vegas. That Vegas trip turns into a Vegas wedding, making sense in the blaze and blur of drinking, partying, and plenty of sex. Ivan primarily wants marriage to stay in America and avoid his family, while Ani views all this as her ultimate meal ticket. Her tact is so strong that when marriage is proposed, she views it as a bargain of jewelry, which Vanya is happy to oblige.

The film takes a turn for the bitter when Vanya’s parents get word of this marriage. Into Ivan’s house comes the hired goons of Toros (Karren Karagulian), Garnick (Vache Tovmasyan), and Igor (Yura Borisov). Out the door goes Ivan, making the mission of forcing the two to annul their marriage impossible. Ani is attacked by Vanya’s parents’ henchmen and forced to help them find the fleeing husband. Per Ani’s strategies, she only agrees if a fee will be paid and that only comes after she starts fighting back against her aggressors. Even when agreeing to track down Ivan, she never stops insulting and scoffing at these goons. Why wouldn’t she? They’re throwing up, whining like children, arguing with people about social media, and don’t even understand how anullments work. Every scene with them is a storm of arguments and aggression, harboring a great sense of catharsis for how those with power are often fucking idiots when challenged. And, wow, does Ani know how to play them at just the right moments, bruising their egos far more than they could ever harm her.

Even when Ani is being forced to play along with the desires a bitter Russian family, she is always in control. It makes sense why Ivan was initially so attracted to such a blunt woman. Early in the film, when she gets married and departs from her strip club, the rival Diamond (Lindsey Normington) declares the marriage won’t last. Ani spits back some words with a grin and attacks with a kiss, disarming the entire argument easily. There are so many moments like this throughout the film, where Ani’s firm stance is that she never lets an insult against her go without pushback. She asserts herself so well that there’s the finale ends with her giving the family what they desire, but leaving them mentally obliterated as she leaves the room.

But there’s also an intoxicating allure to how Sean Baker frames the more engaging and erotic moments. The first act plays out like an enthusiastic romance with a remarkably retro appeal, and not just because Baker relies on 35mm film (although that does add to the charm). The editing is as fast as the passion that builds between Ani and Ivan. When it comes time for Ivan’s escape, the rug is pulled so hard that you want to scream and kick as violent as Ani does. The second half of the film, with its trek around New York City, also has this nostalgic appeal for how gorgeously the film is shot, conjuring up throwbacks to Shaft and After Hours. It’s easy to get lost in the allure, but the film still remains grounded in the present (with modern sexual rap blasting from strip-club speakers) and engrossing with its story. Ani’s character remains the centerpiece. There’s never a moment where you’re not rooting for her, whether she’s rolling her eyes at the pathetic Igor or demeaning him with the most offensive insults.

Anora is the angriest, loudest, and most alive film I’ve seen this year. There’s a viciousness shared with the central character who rages against those in power who want to deny everything they can. When Ani is confronted, she is not only told that her marriage was fake, but that she’ll do what she is told if she doesn’t want to lose everything. Ivan’s wicked mother, Galina (Darya Ekamasova), spits this acid when Ani challenges her. But as Ani notes, she may be a hooker, but a hooker that tarnished a family so severely they had to scramble for an annulment. There’s a life-affirming element to a film such as this, where it’s easy to be intimidated by the greedy and corrupt who hold all the cards. But they’re more bark than bite, and Ani barks loud enough that she sinks her teeth deep into their souls. She’s so brash that when her most disarming moment of compassion arrives at the end, it’s a brutal reminder of the humanity that lurks within every furious confrontation and exchange of overlapping dialogue. There’s more than enough fury and soul in this film to inspire anyone.