Director: Sean Baker
Writer: Sean Baker
Cast: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Yura Borisov, Vache Tovmasyan

Who hasn’t ever been caught off-guard by the parent(s) of a boyfriend/girlfriend/partner before? Things seem all perfect, until the ‘rents don’t approve. How about if one of you were affluent, and the other from the “wrong side of the tracks”? It’s a tale old as time where movies are concerned, right? Sean Baker’s Anora sends a young girl into a world that could not be more different than her own, and thus chaos and comedy ensues. It certainly sounds like the right formula for a solid film, but does Baker’s creation really live up to her hype, or does she leave something to be desired?

One night, Ani, aka Anora (Madison), an exotic dancer/sex worker, is assigned by her boss to entertain a young Russian man, Ivan (Eydelshteyn), being that she speaks Russian. As the pair get closer, Anora discovers Ivan belongs to a filthy rich Russian family, and they embark on a hedonistic week together, culminating in their quicky wedding. When Ivan’s parents hear rumours of his unauthorised marriage, they contact Ivan’s godfather, who then sends two of his own goons to confirm if the marriage is legitimate. However, they soon find out that Ani is not a girl to be messed with, not by the parents, the henchmen, or even her new husband.

To be frank, the premise really is not all that original. Poor girl and rich boy falling in love? Put it the other way around and you’ve got Jack and Rose. Throw in another set of disapproving parents and maybe you’d have a loose Romeo and Juliet (if they had lived long enough to see the error of their young and foolish ways). But, putting that initial attraction aside, does their arc get more interesting? No. Anora’s individual arc goes its own way, and while she is the titular character and reluctantly goes along with events, nothing really that interesting happens to her. She does go on a personal journey of sorts, but nothing is really revealed until the final scene of the film (and even then the audience is left to make up their own minds about the “meaning”). Is Anora a kick-ass character? Sure. Is she also kind of annoying? Absolutely, although it can be argued that that is part of her character. We’re supposed to find her somewhat annoying yet embrace her for who she is, much like a sibling whom you love butwho is an absolute thorn in your side.

Production-wise there is a lot to be said. The cinematography is solid, with some interesting framing and angles at certain times, especially the more we get to know Anora, and the juxtaposition of (extremely) rich and poor resonated very well. The music is also pretty good, as it keeps up the pacing of the film and often underlines Anora’s state of mind. The costume choices are also very representative of how her relationship with Ivan progresses (or regresses), and Anora’s general look is very befitting, down to the shiny tinsel in her hair.

It can’t be denied that Madison’s performance was excellent, likely pushing her to the edge of her own sanity at some points. However, Anora is quite a two-dimensional character for most of the film. We don’t really get to know much of her until the film is almost over. (Also, is it not just a little weird that Baker wrote the character with Madison in mind, considering the nudity and sex scenes?) Borisov’s performance as henchman Igor was very understated, quite the opposite of Madison’s, and both he and Tovmasyan as the other henchman, Garnick, provide tidbits of comedy here and there. Eydelshteyn does well enough in his performance as a typical rich playboy, and Karagulian also provides a little comedy in his performance as Toros, Ivan’s godfather. As an ensemble (bar Eydelshteyn), they are cohesive, and individually they are entertaining.

Is Anora really worth the tons of accolades it is receiving, particularly its nominations at both the Academy Awards and BAFTAs? Personally, I don’t think so. Perhaps I’m missing something glaringly obvious, but not a lot really stands out enough for it to be up there with the likes of The Substance and The Brutalist, certainly not within the stories or performances. For films such as A Real Pain, a far more relatable and well-written and -performed film, and performances such as Kerry Washington’s in The Six Triple Eight to have been looked over for Best Picture and Best Actress nominations respectively in favour of Anora also doesn’t quite sit right with me. Then again, Dune: Part 2 and Emilia Pérez have also scooped some top nominations, so what do I know. Anora is a fun film, an entertaining romp through Vegas and beyond, but don’t go in with expectations high: watch it and make your own informed decision before you find yourself tied up in a marriage with a 21-year-old.