A young sex worker from Brooklyn NY impulsively marries the son of a wealthy Russian oligarch. His family does all it can to terminate the relationship.
ANORA. Starring: Mikey Madison, Mark Eydelshteyn, Daryl Ekamasova, Aleksei Serebryakov, Karren Karagulian, and Yura Borisov. Directed by Sean Baker. Rated MA15+. Restricted. (Strong frequent coarse language, sex scenes and nudity). 139 min.
Review by Peter W Sheehan, Jesuit Media Australia
This American comedy-drama is written, directed and edited by Sean Baker and focuses on the marriage between Anora (Mikey Madison) – a high-priced Brooklyn lap dancer and sex worker, who works in a Russian speaking neighbourhood of Brooklyn, NY, and Ivan “Vanya” Zakharov (Mark Eydelshteyn) – an immature, childlike son of Russian billionaire, Nikolai Zakharov (Aleksei Serebryakov) and a fiercely controlling mother, Galina (Darya Ekamasova). The film was awarded the prestigious Palme d’Or at the 77th Cannes Film Festival in 2024. It is the first movie produced in America to win the Palme d’Or since 2011, and has received multiple awards at different International Film Festivals.
Anora and Vanya connect through a New York strip club where they spend increasing amounts of time with each other. Vanya becomes convinced he must be in love with Anora, and both of them decide to marry. After the marriage, Galina, Nikolai, and the family’s mobsters go on the warpath, and Galina does all she can to destroy the relationship between Anora and her son. She tries to get Anora to recognise her son’s immaturity, and the extent of his family’s wealth and power, to which she believes Anora has fallen victim. The plot of the film goes into overdrive when events become complicated by the strategies put in place by local Armenian enforcer, Toros (Karren Karagulian), who has hired Igor (Yura Borisov) and others to look after Vanya and to protect him. Anora finally submits to the pressure that has been placed on her, and she agrees to a divorce. Her marriage is dissolved, Ivan flies back home to Russia, and the film concludes with Anora breaking down and crying in Igor’s arms.
This an audacious movie that takes viewers on a wild ride. It is sexually explicit throughout, becomes a riotous comedy of abduction, and finishes with a confronting depiction of the vulnerability of Anora. It is highly unpredictable, and is likely to challenge viewers for most of its run-time. The lead acting by Mikey Madison as Anora, and Mark Eydelshteyn as Vanya is impressive, and film direction is cleverly guided by Sean Baker, who manages to create empathy for his various characters. Baker knows the milieu he shows, and he captures the agonies and ecstasies of his characters in a way that mixes sadness with joy. His direction manipulates scenes by attending to detail that leaves traces of hope coming through. The last scene – which stresses Anora’s acute vulnerability – shows Anora realising there is the possibility of true connection with Igor, who is the only one who understands what she has gone through.
The film will not be to everyone’s liking, but is highly distinctive. It could be summarised as a dramatic, and forceful retelling of Garry Marshall’s popular film classic, “Pretty Woman” (1990), that also depicts a rich, handsome man, who falls in love with a vivacious, free-spirited prostitute.
Peter W Sheehan is an Associate of Jesuit Media