Since he received the unanimous approval of critics and the public with his exciting portrait of childhood on the margins in ‘The Florida Project’, Sean Baker’s career has not taken the direction that perhaps seemed most obvious to him. Instead of using that prestige to direct bigger-budget productions with other people’s scripts and Hollywood superstars, he has remained faithful and consistent to his style of work while never stopping evolving. From the beginning of his career, Baker has focused on people to whom society continually turns its back, dignifying their lives and claiming their space. Since its inception, her filmography has focused on the portrait of sex work, from ‘Starlet’ to ‘Tangerine’ to ‘Red Rocket’ and, of course, ‘Anora’, the recent winner of the Palme d’Or at the Cannes Festival.
Played by a colossal Mikey Madison, in a role written for her after having dazzled Baker and his wife and producer Samantha Quan in their small roles in ‘Once Upon a Time in Hollywood’ and ‘Scream 5’, Ani (or Anora) is a young prostitute who makes a living in a stripper bar in Brooklyn. Her life takes a radical turn when she crosses paths with Ivan (or Vanya), wonderfully played by Mark Eydelshteyn, the son of a Russian oligarch who is visiting New York and goes to the bar where she works. An instant chemistry arises between them that leads them to get married in Las Vegas in just a week. When the news reaches Russia, her family will do everything possible to cancel the engagement.
Given its premise, comparisons with ‘Pretty Woman’ are evident. The difference is that Sean Baker does not get carried away by sugar-coated narratives, ensuring that both his heroine and the things that happen to her, no matter how crazy they are – which on many occasions, they are -, always have their feet on the ground. Instead of a fairy tale, it’s more of a reality check.
Despite this, ‘Anora’ is, to a large extent, a comedy. Divided in a very classic way into three perfectly differentiated acts, it begins with the euphoria and debauchery of Ivan’s emergence into Ani’s life which, as if it were an earthquake, dislodges all the foundations of her unstructured life. During their week of idyllic courtship, she lives carefree and lustfully, making much more money than she could have dreamed of, and all without having to really work. Things soon go awry with the arrival of a group of Russian thugs who will do everything possible to make Ivan annul the marriage contract. In this part, the film fully embraces slapstick, playing with hilarious physical humor. When seeing this group of characters, it is inevitable not to think of the pathetic gangsters of ‘Gloria’ by John Cassavetes, a reference that Baker has surely had in mind, or of Scorsese of ‘Ho, what a night’ in that crazy adventure in a night that seems to have no end.
Its structure makes the film work like a shot. Baker provides an excellent rhythm to the narrative, masterfully handling the most frenetic moments with those that require greater intimacy. ‘Anora’ gives the viewer no respite, dragging him on a journey that is as fun as it is, ultimately, moving: the final shot is one of the most powerful scenes the filmmaker has ever filmed. A disturbing and perfect summary of what has just been witnessed.
But like all Sean Baker’s films, despite delving into marginal and sordid worlds, ‘Anora’ exudes light thanks to characters written with great affection. The filmmaker makes his love and commitment to the people he portrays visible with small details and brushstrokes that humanize them without falling into implausible behavior.
Full of dazzling ideas, hilarious passages and deep reflections, ‘Anora’ is another great step forward in the filmography of one of the most brilliant and original filmmakers working.
