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You will never forget the name Anora. Sean Baker has made sure of that. The filmmaker, who prides himself in staying committed to a truly independent style of filmmaking, has found a great ability to bring attention to a working class of day to day hustlers. The Americans that are often or purposely overlooked by those in high status because for the “elite” it is easier to see these people as political pawns as opposed to actual human beings with real life struggles. But even with hard hitting discussions of social status Baker continuously leaves us entertained often in hysterical fashion even when there is an overarching sense of disappointment. ANORA, his latest and quite possibly best film to date is a vibrant whirlwind of fantasy, romance, lust and cruel deceit. It is also a story of a woman; a woman who knows she deserves better and how the world wants to make sure any sense of dream only feels attainable but never actually possible. But in order to have a film sell us on this dynamic woman, Baker needed someone who can control every moment and hold the audience in such a trance that we can never look away and nor do we want to. Mikey Madison doesn’t deliver a star in the making performance, but rather someone who is already a star even if we do not know it yet. An actor who bursts through every scene with such confidence that it feels impossible for her to fail even if she is at a “lower” point when we meet her. It’s a role of a lifetime but one that while may always be associated with Madison in the future its still proof that only great things will be in store for her. Anora may have to fight to ever achieve the dream, but Mikey Madison has already reached the stars. Her fairytale moment has arrived, she has entered her castle and nobody is ever going to take it away.

Today is the greatest day of our lives. That’s what we are told in the lyrics of a dance song blasting as we pan across the private rooms of a New York strip club. As we see every dancer give a lap dace the faces of the men emphasize the words of the song. For them today really could be the greatest day of their lives. For the dancers its all work and they have it down to a science. As they turn their backs to the men grinding into their laps we see the expressionless looks on their faces. Eventually we find ourselves at Anora “Annie” (Mikey Madison) who floats around the club with such ease as she convinces every man she encounters to hit the ATM and let them throw out wads of cash making them feel like they truly have met the girl of their dreams. For Anora (although she prefers Annie) all the glamour that her clients may perceive her as is all in a form of commodity for herself. She knows how to get the bigger bucks. She knows these men want a fantasy and for a few small minutes filled with bottle service Anora lives the luxurious life. In a world far beyond her small Brooklyn townhouse but she is still at the service of these men especially when a young Russian boy requests her specifically due to her ability to speak Russian. Ivan “Vanya” Zakharov ( Mark Eydelshteyn) is the epitome of spoiled golden spoon boy. Picture the even lankier version of Timothee Chalamet mixed with the goofy energy of a Gen Z Billy Madison. Ivan has charm though, and Anora is far from won over by him but can’t resist the chance to get an out of work meet up with Ivan in his Brooklyn mansion that reeks of 80’s Trump decor. While we humorously never learn the exact business status of Ivan’s family a simple “holy shit” reaction from a Google search tells us all we need to know. That and the several Mercedes in the garage, a full house staff and security and enough silk robes to put a porn star producer to shame. For Ivan sex with Anora is all about the quick release and the wad of cash he easily spews out for her. Eydelshteyn an up and comer and fresh face to American audiences is a riot even if he makes you bewildered at Ivan’s lack of care. In a time where trust fund babies dominated television in “Succession” or eat the rich films like “Parasite” and “Saltburn” captivate audiences, Ivan is on another level. Bringing his Gen Z energy to every vape he hits or his ability to stare a hotel manager (about thirty years his senior) in the face and ridicule him Eydelshteyn does it with so much good time energy that you get washed away in it all, even if you know it is quite truthful of the dangers it causes for anyone else in his way.

Baker with his cinematographer Drew Daniels create a beautiful sun soaked party as Ivan and Anora fuck their way through several meet ups. While avoiding the gratuitous there is no denying the sexual power Anora holds and as Madison performs strip teases for him involving school girl outfits and twerking Baker, Madison and the audience are all well aware of the horniness atmosphere the film wants to display. To avoid it would be laughable and feel like a filmmaker desperate to come off as a modern day male feminist. Instead Baker lets Madison do all the work, get all the credit and never shame the audience for being mesmerized by Madison, Anora and her simply put star power appeal.

Yes sex is great but have you ever flown out to Vegas for a week and been paid for it? Ivan’s offer of paying Anora to be a girlfriend for a week is as glamorous as it is absurd. Just the fact that he and his ragtag of Russian friends living off Ivan’s benefit get to be in Vegas for a week is an anomaly. For anyone who has been lucky (or unlucky) to go to Vegas knows it’s a weekend at most place. A place designed to get in, get out and maybe get a little lucky. For Ivan its just another day of rooftop pools and losing thousands of dollars without the blink of an eye. For Anora its paradise and the connection to Ivan slowly moves away from just lucrative sex. So when Ivan proposes the idea of well marriage to Anora to allow him to stay in the country and the promise of love and all the fancies of the rich and fabulous Anora accepts. It’s a somewhat sweet moment that feels almost like a romantic comedy. You may not believe Ivan’s feelings for Anora, but you do believe her willingness to take a chance on a life she could never have dreamed of and love growing soon. It’s quite unbelievable how much Baker is able to fit in in just the first quarter of his film. He practically fits that whole rom com allowing for hysterical moments where Anora gets to tell her rude boss and some of her mean co-workers to fuck off while she shows off her five karat ring, mink coat in hand. One could argue that you could fill a whole movie right here and they could ride off into the sunset dance music on cue. But once word travels back to Russia and Ivan’s parents it sends a tidal wave of chaos back to Brooklyn. Anora’s castle has been invaded.

The invaders of Anora’s fantasy come in the form of right hand man Toros (Karren Karaguilan), with his second in command Garnick (Vache Tovmasyan) and fists for hire Igor (Yura Borisov). Baker has been known for making street style films and hiring off those street actors. Many of his former cast members have just been people he admires off Instagram or a cashier girl who has the right attitude to bite back. ANORA may be his first film with the most resume filled actors but they all still carry that been “around the block” mentality and they are all the better for it. Prolonged scenes where Anora is confronted by these men trying to understand why she is now being forced into getting an annulment are some of the most neck turning shifts in film in quite some time. Even if the audience can tell there is a sense things may not work out perfect the entry of these three men (all large in size) trying to remove Anora and the situation feels more terrifying and robust. But they also have a three stooges aura to them finding themselves on the backend of some hysterical physical comedy. But even with the somewhat playful banter they bring Anora possibly having everything stripped away so quickly brings an unease for everyone. Making it worse Ivan flees the coop leaving Anora (also small in size) to fight for her home even if others refuse to fully give it to her. It’s a harsh discussion Baker is bringing up since Anora has every right legally to Ivan’s money, house and other luxuries but how much happiness can one have when status is everything and Ivan’s family will never see her as anything but less? Words such as “whore, hooker, slut” are thrown around endlessly and while Anora bites back its to too little avail. It’s a film that clearly sees Anora for the mesmerizing person she is, but still one that knows nobody else ever will.

Much like the tenacity of its lead ANORA is a New York film through and through. Shots of Coney Island and especially its Russian sections are shot with such ferociousness  that you are always reminded that this is a city that fights back and has no time for anyone intruding or trying to throw bullshit your way. But Baker still never lets us forget that the city is made up of hustlers who have to work twice as hard the second some rich douchebag enters the room throwing away, with no respect, all the hard work day to day people put in. Its these moments that allow ANORA  to pull back the curtain on some of the supporting characters to (while staying quiet at first) see the mistreatment Anora is going through but at the same time for as worn down as she is and betrayed by insecure mommy’s boys, she never stops fighting. And why should see, even if neither Baker or Anora believes Ivan’s words of forever are true one still has to own up to what they say and even more so what they promise legally. In Anora’s eyes and the eyes of many who know the value of work when you fuck up you pay the price. But these are not normal people and the rules are not just broken they are rewritten. ANORA is the kind of film that wants you to leave fascinated but that does not mean its going to leave you with lies. This world should belong to people like Anora, but we know how these situations end. Even when someone like Anora gets one last attempt to get what’s hers Baker stays consistent with her previous films in showing that the dream is just that, a dream with little possibility of reality.

If ANORA is a fairytale then it is one that proves the story goes way beyond “they lived happily ever after.” It’s a fairy tale of the un-Disney world where we actually see the princess not just unhappy in her castle, but possibly thrown out of the castle entirely. A world where the prince is just plain weak and the king and queen could give a damn about those outside their walls. It’s American in its fullest, a place where anyone can come here today and make it if they have a few million dollars in their pocket. Mikey Madison thankfully comes out unscathed as a performer and instead walks away with it all. An actress who throughout the film has us bleeding for her especially a final moment that will easily strike up conversation but never debate. There’s a clear right and wrong and if you cannot see which side Anora is on then you might need to reflect on your own privilege. Baker leaves nothing to misunderstand and instead gives ANORA a frustration that will be all too familiar to many. But that doesn’t mean you leave the film disappointment, in fact the exact opposite. Instead you are left in awe of a filmmaker and even more so a performance that could define a decade. If nothing else walking out of the cinema you may find yourself hearing that opening song come back into your head and this time when it says “it’s the greatest night of your life” it is pretty damn true.    

A+

ANORA WILL BE RELEASED IN THEATERS FROM NEON STUDIOS OCTOBER 18