Reviewing ‘Anora’ : A Modern-Day Cinderella Story?
When I first booked my cinema tickets to go watch Anora by Sean Baker, I wasn’t quite sure what to expect.I already knew that the film had received a Palme d’Or at the prestigious Cannes Film Festival;I expected decent cinematography, at the very least. With hindsight, it is safe to say that I got more than I bargained for.
The film, starring Mikey Madison as Anora (Ani), follows a stripper from Brooklyn who also occasionally works as a prostitute. It depicts her chaotic romance and subsequent marriage to Ivan (Vanya), the young son of a Russian oligarch, played by Mark Eydelshteyn,. The couple gets married on a whim in Vegas - a perfect setting for impromptu weddings set to fail - but their childish bliss is interrupted when his parents find out, sending a team to ensure their divorce. The rest is a chaotic chase that walks the audience through every aspect of New York’s dark nightlife.
It is very difficult to provide a comprehensive review without spoilers, but I resolve to do my best. The first aspect one could feasibly comment on is the casting. Mikey Madison admittedly steals the show; it is evident that she put a lot of effort in when preparing for it. Although she is a proud Californian she has perfected the Brooklyn drawl, making her performance all the more credible. The actress herself has admitted that one of her biggest challenges for the role was learning how to pole dance, a skill which requires considerable physical strength. Even then, she certainly delivers. Mark Eydelshteyn, her co-star, might have a less imposing role however his boyish charm and thick Russian accent make his performance memorable.
Another memorable aspect of the film is the cinematography. The scenes change in rapid succession, ranging from opulent mansions to obscure nightclubs. The chaotic style of the director reminded me slightly of Baz Luhrmann’s work. The director expertly uses lighting and colours to convey the emotions of the characters. During the early, happy days of Ani and Vanya’s marriage the colours are vibrant and the lighting plentiful. Later on, as the mood changes the colours shift to tones of black and grey and the lighting becomes obscure, symbolising the moral ambiguity of the characters. If that is not enough, the not-so-aesthetic locations definitely do the trick.
Moving on to the most controversial part of the movie: the plot. The movie doesn’t shy away from the dark, less glamorous life of sexwork, providing viewers with some food for thought. One of the main themes of Anora is human relationships. It is clear that Ani is starved for human affection. She tries to hide behind a facade of the gorgeous, cool girl with plenty of makeup, even changing her name from Anora to Ani but is ultimately scared and alone. Deep down, she is neither tough nor a gold-digger. She is a romantic who chooses to trust the wrong man because she wanted to be loved for who she really is.
Regarding the ending, from the description of the movie it was quite obvious that there were two ways this scenario could play out. The first one is an unoriginal, happy-ending, classic Cinderella story. The other would be a tragedy of star-crossed lovers, doomed from the beginning. Somehow, Sean Baker’s movie doesn’t opt for any of these options, delivering an unexpected resolution which either excites or disappoints viewers (there is no in between).
To conclude, Anora is vastly different from any other film that I have seen before. It delivers a paradoxical deep dive to human psychology through a seemingly superficial lens, rather deceptively. However, do not expect a feminist movie in which the heroine saves herself. I would definitely recommend watching it because I considered it as a breath of fresh air in a world where creating original movies has become increasingly difficult.
Edited by Emily Henman, Co-Film & TV Editor
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