Anora

Sean Baker's Palme D'Or winner is another complex character study

Sean Baker is reminiscent of the revolutionary directors of the 1970s, filmmakers who reshaped cinema by telling stories from the fringes of American life. Throughout his career, Baker has shined a light on those often overlooked by society—from transgender sex workers in Tangerine (2015) to childhood poverty in The Florida Project (2017) and retired porn stars in Red Rocket (2021). His latest film, Anora (2024), continues his tradition of empathetic, nonjudgmental character work.

Anora follows the eponymous protagonist, known as Ani (Mikey Madison), a stripper and sex worker in New York who becomes romantically entangled with Ivan (Mark Eidelshtein), a carefree Russian heir. What starts as a transactional relationship takes a dramatic turn when the pair impulsively marry in Las Vegas. However, their fantasy comes crashing down when Ivan’s powerful parents discover the union and dispatch a trio of enforcers (Karren Karagulian, Vache Tovmasyan, and Yura Borisov) to "fix" the situation.

At its core, Anora contrasts the carefree world of the ultra-wealthy with the harsh realities faced by the working class. The first half revels in the intoxicating allure of wealth, painting a world of endless parties, sex, and travel—like a social media influencer's fantasy brought to life. Then, with a jarring shift, the second half shatters Ani’s illusion, exposing the cold, unforgiving forces that sustain such privilege.

Structurally, Anora takes a bold risk. With two halves that differ significantly in tone and pacing, the film could have felt disjointed. Instead, Baker makes the divide purposeful, allowing each section to be in conversation with the other. Humor serves as a crucial connective tissue, infusing the film with a self-aware neo-realism reminiscent of Fernando León de Aranoa’s work. However, the second half loses some momentum, weighed down by repetitive sequences of characters searching for one another. A tighter edit would have enhanced the film’s gut-punch finale, sharpening its clash between ambition and reality.

Madison was reportedly cast in the lead role based on her brief but memorable supporting turns in Once Upon a Time… in Hollywood (2019) and Scream (2022). She dominates the screen, delivering an unrestrained yet deeply layered performance. Ani’s confident exterior barely conceals her fragile hopes and vulnerabilities, and Madison ensures that every letdown registers as both heartbreaking and defiant. The supporting cast is uniformly strong, but Borisov stands out in a largely silent role. Known for his bombastic performance in Compartment No. 6 (2021), he takes a starkly different approach here, portraying his enforcer with quiet intensity. Through subtle gestures and downcast glances, he becomes the only character who truly sees Ani for who she is.

Baker delivers yet another engrossing character study, dissecting wealth disparity and the seductive yet treacherous illusions money creates. Madison gives one of the year’s best performances, cementing herself as a breakout star. Though the film’s second half lingers longer than necessary, Anora remains an absorbing, expertly crafted drama. Not only is it a worthy Palme d’Or winner, but it is also destined to rank among the year's finest films.   

8.6/10