2024-10-31 15:57:00
Sean Baker tells stories with warmth and humor from the margins of America. With “Anora”, a comedy drama about the stripper Ani, he rightly won the Palme d’Or. Because the movie is so much better than “Pretty Woman.”
Maybe he’s just dreaming about it? After the first half hour of the film you have to wonder. Because everything seems too simple, too good to be true. The dancer Ani meets the young Russian Ivan one evening in the strip club. The two like each other and the next day he invites her to his house, which turns out to be a villa. Ivan’s parents are rich, probably Russian oligarchs and even better: not at home. The two get along so well that he pays Ani for an entire week. It seems that feelings are actually developing between the skinny guy who is constantly on drugs and the casual prostitute. And then, just as the week comes to an end, he asks her if she wants to marry him. She wants it and they do it, in Vegas.
Director Sean Baker speaks often and fondly of precarious America in his films. Of drug-addicted mothers raising their children in motels (“The Florida Project”), of transsexual prostitutes in Los Angeles (“Tangerine LA”) and of retired porn actors (“Red Rocket”). In “Anora” he tells a similar story and wins the Palme d’Or at Cannes. Rightly so: Anora is one of the best films of the year. Anyone who wants to see it should go to the cinema immediately and stop reading, because from here on out there will be spoilers.
What makes the film so great is Baker’s subtle way of making the viewer feel things instead of explaining them. It starts as a frenzy: nightlife, loud music, flickering lights, drugs, alcohol, eroticism. Everything happens so quickly that there isn’t much time for doubts. When Ivan’s parents find out about the wedding, this ecstasy turns into a kind of chaos. The parents assign their henchmen, an Orthodox priest and two bodyguards, to cancel the wedding. When they show up at the mansion, Ivan runs away, leaving his wife to sit with the men. He defends himself with everything he has: bites, kicks, curses, screams and lashes out. A nightly “Hangover”-style search for clues begins, in which Ani, whose real name is Anora, plays along but pursues her plan.
What if he did?
In the excitement of the moment, the viewer, together with Ani, begins to hope for a miracle, even though in reality we know better. Naturally, this immature boy who only dabbles in drugs and video games will not resist his parents. Or is it? Baker achieves this not only by relying on romanticism, but also by presenting rational arguments. The boy wants American citizenship; she only really believes it when the ring is on her finger. So why not anymore? Only after finding Ivan in the strip club with someone else does the hangover begin: how could anyone doubt for even a moment? When Ani asks Ivan one last time, on the steps of her parents’ private plane, whether they are really calling off the wedding, he irritably shouts, “Of course, are you stupid?” to Ani.
Ani is played by Mikey Madison, who is already considered an Oscar nominee for her performance. For Anora, she adopted a distinct Brooklyn accent, considered trashy in the United States. Ani is neither glorified as a saint nor is she rude to her colleagues and sister, nor is she particularly deceitful. When he tries to make the best of the situation financially, it is more out of defiance and wounded pride than calculation. The director doesn’t just make her a victim of the situation, but defends her dream physically and verbally.
Baker does not romanticize, but rather lures the viewer down the wrong path and then confronts them with their own naivety. In the end it snows: the snow clears the air and dampens the sensations previously aroused. There is no more music, the silence is broken only by the squeaking of the windshield wipers. A stylistic device that works like a cold shower. This is not kitschy prostitution like in “Pretty Woman.” Baker doesn’t romanticize, but shows step by step why people hope despite all odds to the contrary – and in doing so sets his sights on the main character.
The film shows all this in a funny and absurd way, as tragedy sometimes is. For example, when the priest remains without baptism, he pushes the child into the parents’ arms and apologizes because he still has something important to do: find his escaped protégé. In the end he is the spoiled boy, brilliantly played by Russian actor Mark Eydelshteyn, for whom sooner or later everything will become just a stupid drinking story. For Ani, an entire world has been shattered. For all the disillusionment, Baker doesn’t let the film end entirely hopeless. He doesn’t need grand gestures.
Time.news Interview: Exploring ‘Anora’ with Director Sean Baker
Editor: Welcome, Sean! It’s a pleasure to have you here. Your latest film, “Anora,” has just won the Palme d’Or and has received fantastic reviews. In a nutshell, how would you describe the story?
Sean Baker: Thank you for having me! “Anora” is essentially a comedy-drama that follows a stripper named Ani and her whirlwind romance with a young man named Ivan. What starts as a night of unexpected connection inside a strip club spirals into a chaotic love story, ultimately leading to a Vegas wedding. But beneath the surface glamour, the film explores deeper themes of identity, hope, and the often painful quest for true love in precarious circumstances.
Editor: It’s interesting how you’ve set a romantic narrative within such a raw and gritty context. What inspired you to create this juxtaposition?
Sean Baker: I often draw inspiration from the margins of America—those spaces and lives that are rarely shown in mainstream cinema. I believe these stories can offer warmth and humor while highlighting the struggles people face. In “Anora,” I wanted to show that love can emerge from even the most challenging situations, and that our characters, despite their circumstances, have hopes and dreams just like anyone else.
Editor: The film beautifully balances chaos and emotion from the beginning. Can you talk about your approach to storytelling in “Anora”?
Sean Baker: My goal was to immerse the viewer in the frenetic vibe of nightlife. From the opening scenes filled with loud music and flashing lights, I wanted to create an atmosphere that feels vibrant yet hectic. As the story progresses, the chaos becomes more pronounced—especially when Ivan’s parents, who are these powerful figures, intervene. It’s all about drawing the audience into Ani’s emotional journey and letting them feel her highs and lows through the chaos unfolding around her.
Editor: The character of Ani, portrayed by Mikey Madison, has received high praise, even being considered for an Oscar nomination. What do you think makes her character resonate with audiences?
Sean Baker: Mikey did an incredible job capturing Ani’s complexity. She’s not just a stripper; she’s a young woman navigating her aspirations and vulnerabilities. The Brooklyn accent she adopted gives her character an authentic edge, which is key to portraying someone who isn’t living a glamorous life. Audiences can relate to her struggles of wanting more while being drawn into a world that often sees her as less than she is. That authenticity creates a connection that’s hard to ignore.
Editor: As the film develops, there’s a moment where Ani’s hopes clash with harsh realities. How do you convey that shift effectively?
Sean Baker: It’s about building emotional stakes throughout the narrative. The viewers start alongside Ani in her hopeful state, believing in her love story with Ivan. But as we witness the unraveling of that dream—especially when his true priorities become clear—it’s a gut punch. I wanted to capture that feeling of betrayal and despair, while still holding on to the flickers of hope that make us human.
Editor: The ending is particularly impactful, leaving viewers with a sense of ambiguity. Was that your intention?
Sean Baker: Absolutely! Life is rarely tied up in neat bows, especially in love and relationships. I believe in giving audiences a chance to reflect rather than providing a single, definitive answer. “Anora” invites interpretation, allowing viewers to ponder what happens next for Ani and Ivan and what that signifies for their futures.
Editor: It sounds like “Anora” offers a thought-provoking experience layered with entertainment. I’m sure many are eager to see it. Thank you, Sean, for sharing your insights!
Sean Baker: Thank you! I hope everyone enjoys the film as much as we enjoyed making it.
