Written by Ky Tanella. Photos courtesy of SCAD Savannah Film Festival.
“Anora” screened at the Lucas Theatre on Tuesday, Oct. 29. Since its release, it has garnered abundant critical acclaim, and is predicted to make waves during award season. So far, it’s won the Palme d’Or at Festival de Cannes (the highest award, dedicated to the director), and most recently, it won 4 Gotham awards, including Best Feature Film and Lead Performance. This is nothing new for writer/director Sean Baker, who has created a handful of critically acclaimed films, such as “The Florida Project,” “Tangerine,” and “Red Rocket.” Much of Baker’s work revolves around the humanization of sex workers, and always portrays a unique (and often powerful) glimpse into a niche part of American livelihoods.
“Anora” tells the story of Anora “Ani” (played by Mikey Madison), a young Brooklyn-born sex worker who meets, falls in love with and impulsively marries the spoiled son of a Russian billionaire. When his parents find out about their union, they send their “henchmen” on a wild goose chase throughout New York to annul the marriage.
Madison’s brassy, smart-mouthed rendition of Anora leads a group of poignant performances, and the film really gives her the room to showcase her talents as an actress. While it’s no doubt she shines in the overstimulating moments of the film (i.e. when she is screaming, fighting, or even riding through Vegas in a drug-fueled haze), she showcases profound grief and sadness with an equally devastating ease. Although I may have some critiques on Anora’s characterization and development (or lack thereof) in the script, Madison’s portrayal made her all the more profound.
There’s a clear delicacy and love for both this lifestyle, and for the characters on-screen. Baker’s script moves through goofy, slapstick comedy, teenage romance and gut-wrenching tragedy in an artful and intelligent way. The audience reception was electric, the room was filled with laughter and gasps that were rightfully earned, and I had a great time, especially within the first hour of the film.
While the film is obviously artfully crafted in every way, I cannot peacefully write a review without mentioning the cinematography (credit to Drew Daniels). Much like how Sean Baker tastefully moves through genres, Baker and Daniels work together to create a fully immersive style by blending filmmaking techniques. This especially shines during both the billionaire college-esque parties, and even the strip club scenes, where the audience feels like a party-goer themselves.
Mikey Madison led a very elegant and wise pre-screening Q&A, and was granted the Breakthrough Award. In Clayton Davis’s Q&A with Madison, she had some beautiful things to say about sex workers, and how she feels “enlightened” after doing research into that lifestyle/occupation. She also gave us some amazing advice, which was to always be a “student” and always be willing to learn within your craft.
