Head of Reviews Robert Flynn reviews Anora, Sean Baker's dazzling Palme d'Or winner that proves to be one of the most thrilling and triumphant films of 2024
Sean Baker, writer and director of Anora (2024), is one of the most distinct and exciting voices in the filmmaking sphere today. His most celebrated efforts, which include The Florida Project (2017) and Red Rocket (2021), were indie films that continue to be praised by critics and Letterboxd-obsessives alike. He often tells contained, picturesque and entertaining stories that dismantle the American Dream amidst the backdrop of 21st Century American politics.
Baker’s Palme d’Or winning Anora presents a new dimension to Baker’s impressive filmography. His latest exhilarating comedy is his most plot heavy film and perhaps his most conventional too. These observations are not meant as aspersions however; if anything, they’re compliments. Anora proves that Baker isn’t just an indie darling but a filmmaker who is able to make an incredibly impactful mainstream comedy as well.
The titular character of Anora (Mikey Madison) is a 23 year old steely sex worker who is an outspoken and hardworking woman. While working at a strip club called ‘Headquarters’ in Brooklyn she receives the attention of many men wandering in. Ani relishes in the art of seducing her clientele, ensuring that they have a memorable evening and that she receives her payment.
Anora, or Ani as she prefers to be called, understands that the attention that she can retain is a currency in and of itself. Within the walls of ‘Headquarters’ with its dizzying neon lights, the more eyes that are on her means more money for her to take home.
One night while working at ‘HQ’ she’s asked to entertain a young Russian man named Ivan (Mark Eydelshteyn) due to her proficiency in his native language. The 21 year old Russian is an eccentric. As the son of an ambiguously wealthy and influential Russian man, he takes full advantage of his inherited wealth. He takes an instant liking to Ani, what unfolds is scenes of endless rampages of elaborate spending that involve loud music, private flights and the most luxurious hotel suites. Ani is never blithe about her position in their perceived relationship. She’s sure to state that she wants her warranted payment after giving her valuable company to Ivan. Ani gets her shot at achieving the American Dream but it’s not clear if Ivan sees her as more than a woman who provides him a service.
As news breaks out about their rebellious relationship, Baker’s film takes a turn. In a hilarious and yet introspective sequence just before the middle of the film, Baker displays his expert use of tonal shifts. It involves some Peter-Bogdanovich-screwball hysterics that slowly boil throughout one morning where two henchmen sent by Ivan’s parents show up to his mansion. Characters hilariously scream, run and crash into one another in wide shots that Baker fills with delightful chaos. As the scene progresses, Baker is able to add new dimensions to the scene. The physical threats posed by the henchman and Ani’s lack of control come into question. As the scene becomes more introspective, Ani’s occupation is weaponised against her and used as a threat. Baker is able to weave comedy and social commentary expertly together in his filmmaking, having respect for the themes but able to present them in palatable, thrilling scenes.
Anora doesn't always burden itself with expanding its plot unnecessarily and instead wishes to spend time with its eclectic group of singular characters. As tensions rise and situations escalate, more and more workers are flung into the mix in order to meet the needs of a couple of rich and demanding parents. We spend more time with the henchmen Igor (Yura Borisov) and Garnick (Vache Tovmasyan) as well as their explosive boss Toros (Karren Karagulian). Similarly to The Florida Project (2017) and Tangerine (2015), there are no small characters in Baker’s new film. He sees humanity and sensitivity in each of his characters, making sure that they all look out for one another as they’re continuously exploited for the needs of the upper class.
Anora is certainly not one of Baker’s more politically nuanced works, but that’s not what the director has attempted to do. He’s focused on blending a witty, bombastic comedy with neatly handled, relevant social commentary on the dehumanisation and commodification of service workers, specifically sex workers, in America. While it can be hard to imagine these two values existing within a single film, Baker defies the odds. Anora is one of the most nail-biting and hilarious films of the decade that displays some incredibly dialled-in performances as well as Sean Baker’s virtuosic control of tone, delivering terse messages wrapped in a sparkling bow.