In order to find what’s real, sometimes you have to fracture the fairytale.
Written and directed by Sean Baker, Anora tells the story of Ani (Mikey Madison), a sex worker from Brooklyn who is looking for a way out. Things change though when Vanya ( Mark Eydelshteyn) arrives. The son of a wealthy Russian oligarch, Vanya has infinite time and cash to burn. Hiring Ani as his exclusive sexual dalliance, the two begin a whirlwind romance that is both charming and overwhelming. The two are entranced with one another, leading to an unexpected marriage. Though, once the news reaches Russia, Vanya’s parents are… less than pleased and they set out to New York to have the marriage annulled.
Though the set-up may feel like the basis of some (albeit R-rated) Disney fairy tale, Anora is anything but. This is a film that has gritted teeth underneath its charm and humour. We marvel at Ani’s ascension into the ‘suite life’ and celebrate her chance to live in the stunning beauty of the ultra-wealthy. However, when she finally seems to get the keys to the kingdom, Baker peels back the potential for a fairytale ending by showing a world where rich ogres are threatened by outsiders.
In some ways, Baker’s visuals set up the irony of the tension between worlds. On the one hand, the world of luxury is meant to feel like the true ‘American Dream’. Baker wants this world of excess to feel nothing but inviting. Beautiful views and opulence feel welcoming and even safe. Still, despite the lavish setting, this is also a space where people of privilege live inauthentically. What matters most to them is maintaining their image and those who do not measure up are viewed as insignificant. (After all, it’s easier to look down on the world when you live in the proverbial penthouse.)
Held in juxtaposition to this world of abundance though is the underground of the sex industry, a world bathed in shadows and neon lights. This is meant to be seen as unappealing space to outsiders but, somehow, the people here are more genuine and honest than those of wealth. Here, everyone speaks their mind and you always know where you stand. There’s something beautiful about this level of openness and Baker ensures that we care about these men and women for who they are.
It’s worth noting that Baker is no stranger to exploring the sex industry in his films. In each of his previous works, he has worked hard to showcase the humanity of women and men in the sex industry who have been judged by others. (Even The Florida Project dabbles in this territory through the character of Hailey.) But this is part of the beauty of Baker’s work. Baker has a unique way of bringing out the best of humanity, even in the most difficult circumstances. Often struggling with poverty, Baker always manages to shine a light on the souls of those who just want to be free. And Anora is no different.
In Ani, we see a young woman who is strong and courageous. It’s worth noting that the film is built upon the back of the absolutely sparkling talent within Madison. In one of the year’s best performances, Madison brings a fury to Ani that makes her formidable. She is fierce, confident and has a fire burning behind her eyes. At the same time though, Madison brings a vulnerability to her as well. Ani is a woman who spends her nights undressing for men but comes alive when she believes that she has found true love. Even so, she remains is unashamed of her profession, only spending her nights in the sex industry to pay the bills.
When she meets Vanya though, her world changes overnight. With an infinite amount of cash to burn, Vanya sweeps Ani off her feet. Nights at the club, expensive clothing and, ultimately, a whirlwind trip to Vegas allow her to step into her life as Cinderella. In him, she has found a way out of her life and up to the penthouse. Yet, even in the midst of the extravagance, Ani is most excited that Vanya speaks of his love for her. His love for her makes her believe that dreams come true, something that she’s never been able to hold on to before.
That is, until her diamond carriage turns into a pumpkin again.
What comes next is an avalanche of shame that is poured upon her. To Vanya’s parents, their marriage is viewed as a blemish to the family name. They believe that there is a dividing line between privilege and poverty for a reason and, to them, Ani has crossed it. In these moments, Baker never holds back on the power of shame. Though Ani never waivers, Anora demonstrates the damage that shame can do to the soul. She has done no wrong yet she is made to feel as though she has. And the deluge of criticism that falls on Ani leaves an indelible mark. (In fact, Vanya’s mother cannot even bear to look her daughter-in-law in the eye.)
In this way, Baker uses Ani’s journey to explore the nature of human worth and who decides it. Ani knows that she matters. However, if enough people tell her that she’s worthless, wouldn’t anyone question themselves? The verbal abuse of others drives a disconnect within her heart as she begins to second guess herself.
After all, it’s lifegiving to suddenly believe in magic. It’s another thing entirely to be told that it doesn’t apply to you.
But Baker never believes Ani to be anything but a true gem at heart. In Anora, we see the value in those that society deems unworthy of support and want her to experience healing herself. In doing so, he has woven a tale which reminds us what it means to ‘matter’ in a world that expects more from us all. Because of this, Anora becomes something truly special and, unequivocally, one of the best films of the year.
Anora is available in theatres on Friday, November 8th, 2024.
