Film Fest Review: Anora

Illustration by Fon Leigh

From “Tangerine” to “The Florida Project” to “Red Rocket”, director Sean Baker has consistently crafted independent feature films highlighting the lives of marginalized and underrepresented communities. In 2024, he made his mark again with “Anora”, a film exploring the life and relationships of a Brooklyn sex worker. Having had the opportunity to view this film at the SCAD Savannah Film Festival, I was captivated by the portrayal of such complex themes and situations. In this article, I’ll delve into what, I think, made Anora truly stand out.

To begin from a technical position, the cinematography, editing, and lighting were the exceptional aspects. At times of tension, the film succeeded in utilizing camerawork and quick cuts to increase visual drama. And the opposite stayed true as well, with melancholic moments being drawn out, more distant.

But my favorite artistic direction was the lighting. In a movie with plenty of scenes within a club, it could be hit or miss with managing the complex flashy lighting, yet it was gorgeously executed. Even in non-club scenes, the quality of the lighting held up well and contributed greatly to communicating the setting and mood.

Transitioning to more story-centric aspects, the comedy and dialogue in this movie were likely the most standout aspects. The naturalness of the characters’ interactions felt unscripted at times, and the reality-rooted comedy of quick bits and comments made everything feel almost more believable. In a full audience, the vast majority of jokes landed with a wave of laughter.

Additionally, the characters were all extremely well written and played. Ivan effectively encapsulates the reality of a man who, sheltered by his privilege, never fully grew up to take accountability for anything, or anyone he hurts. His introduction makes you like him, makes him seem fun and lovable, which in a sense, he is. He is one of the characters who carries the comedy throughout this film, right from the start. But the warning signs are there. When his true lack of empathy is seen in action, it is in no way a shock, but it still hurts to be faced with something we should have seen coming a mile away.

Anora herself is also an intriguing character. Played impressively by the talented Mikey Madison, she fills a trope that is not particularly unique, but that in no way makes her unenjoyable or unrelatable. What I found most compelling about her character is how they teased the concept of “girlboss” (a bit of an outdated term I know) that many films of similar themes incorporate. Compared to other films, “Anora” handles this concept realistically. Anora is independent and smart, she is not afraid to advocate or fight for herself. However, that does not mean she gets to “stick it to the man” all the time. She is up against powerful people, and in her position, sometimes there is just little she can do realistically.

I’ve seen criticism that this film is a “male gaze movie”, which is something that I was struggling to determine myself while watching the film. With the abundance of female-centric sex scenes and arguable physical assault towards a woman (at times played for comedy), I could not help but raise an eyebrow at times. The thing is, these aspects, unlike other films, are crucial to the plot. The excessive eroticness of the first act establishes the lust-driven relationship of the main characters. It establishes Ivans’s selfish need to fulfill any and all his desires, and Anora’s perception of love and relationships with men as being tied to sex and commodities. 

The scene containing the physical assault — which is debated in the movie itself — was harder for me to understand. At times, it played out as a “Home Alone” style comedy routine with comedic chasing and slap gags that got laughs out of the whole audience, including me. But other times, seeing Mikey Madison writhing for freedom while being held still and tied up was extremely uncomfortable, which I believe is in part the point of these scenes. However, in a film combining comedy and sensitive subjects, mixing jokes with a scene portraying what many women consider a nightmare of theirs can come off to some as insensitive, or making too much light out of it. 

Movies regarding female sex workers seem to be a struggle for Hollywood to get right. Focusing too much on the sex aspect can be easily misinterpreted as ill-motivated. But not incorporating it enough could come off as being afraid to acknowledge or portray it. For me, this film walks a fine line when it comes to this. However, I greatly enjoyed the exploration of concepts such as privilege, survival, and the complex influence of sex on female perceptions of their male relationships. The film takes a few risks, but overall it provides a great conversation on a sensitive subject, combined with well-executed and entertaining comedy that stands out from the norm.