This modern version of the story of Cinderella does not end with the wedding, but begins. This year, after 13 years, an American film won the Palme d’Or at the prestigious festival in Cannes, France. Director Sean Baker charmed the jury with the film Anora, which is now showing in Czech cinemas. Brazenly crossing Pretty Woman romantic comedies with Coen Brothers poetics, it offers a bewitching excursion into 1990s Hollywood.
Young stripper Anora doesn’t like her name, she insists that people call her Ani. He takes his work pragmatically, including those moments when pole dancing is not enough because the client wants something more. When the heroine, played by Mikey Madison, has to take care of a talkative young man of Russian origin, because she is the only one who knows his mother tongue, she takes it purely professionally. However, from the first dialogues on the border between Russian and English, mutual sympathies are evident.
Ivan is a boy who lives in his parents’ luxurious American mansion, where he mostly smokes marijuana or plays video games. At the same time, however, he can be charming, even though he is anything but the “prince” of the Hollywood romantic cut.
But events take a turn, Anora suddenly finds herself with Ivan and his friends in Las Vegas and, like an even bigger snap of the fingers, the two young people are standing at the altar. However, this is not the final happy ending, but the beginning of a lot of trouble.
Ivan’s parents are oligarchs who sent their troubled son to study in America so that he could take part in the family business. When she discovers that he has married a “prostitute” instead, she heads across the ocean to set things right. Even before that, however, they send people who were supposed to take care of Ivan to the event.
The 53-year-old director of the film, Sean Baker, is one of the most prominent figures in independent American cinema. In his pictures, he often focuses on minorities or people from the margins of society. Czech cinemas showed, for example, his seven-year-old, spontaneous and immediate The Florida Project, set in a cheap hotel not far from an amusement park.
However, Sean Baker elegantly plays with romantic comedy stereotypes. His “Cinderella” is a self-confident woman used to fighting for her happiness alone, as she shows in the moments when the film switches to crazy, absurd, talkative and appropriately physical comedy. The smooth transitions between moods and genres are among the strengths of the film, which takes many of the clichés seriously. Just like your characters.
Anora, Ivan, and his parents’ instigators, who are trying to annul the marriage and not lose the favor of their breadwinners, are people either naive at the core or right on the edge of caricature. However, the greater mind wants the director and screenwriter to make them into believable beings. Which is successful – especially in the case of the Russian young man played by Yuri Borisov, whose visage slightly resembles Ewan McGregor and who has already captivated the festival audience with his leading role in the Finnish film Kupe No. 6.
From the scene of the multi-day party in Vegas, it is clear that Baker knows how to win over an audience. A wild, dynamically edited party full of sex, alcohol, drugs and gambling feels too great to be anything more than a momentary fling.
Yet Ivan’s idea of marriage sounds so enthusiastic, sincere, and guileless that it disarms both Anora and the audience.
The director is able to masterfully portray the atmosphere, and this is what propels the film forward the entire time, even during sudden plot or tonal jumps. Sometimes it’s an indiscriminate comedy that cleverly borrows from the Coen brothers’ or Quentin Tarantino’s penchant for gross violence and absurd twists, other times it’s a thriller.
But then the film is able to quieten down and replace the hectic action with a relatively realistic, sober portrait of a few days in the life of a young stripper who dreamed for a moment, but it’s time to get back on the ground.
Although Baker shoots erotic scenes sensuously, and when violence against women occurs, it is done without embellishment or excuses, yet the creator never slips into first-class sensationalism. On the contrary, they look at the environment of strip clubs and the work in them without prejudice.
He knows how to give dignity to characters. Unless it’s Ivan’s mother, who immediately takes over any space she enters, even if it’s the size of a hangar. This embodiment of the phrase “big water” concentrates all jokes on the topic of Russian nature, which is evident in the scene when Anora manages to insult her so aptly that it makes even her husband laugh.
At times, Anora can only feel like a grateful ride across genres. The painful and naturalistic, which is hidden in the heroine’s insides, shines to the surface only for a small moment. Even that is enough for the film to have the appropriate emotional impact. And it forced the audience to constantly reevaluate what they had just seen.
Making fun of rich Russians and their expansive natures is fine, but Baker definitely reigns supreme in this discipline. Even if it’s down to sheer directorial prowess, Anora is still a much more likable American Cannes winner than Terrence Malick’s ploddingly spiritual family drama The Tree of Life, which took the Palme d’Or overseas the last time.
Film
Anora
Written and directed by Sean Baker
CinemArt, Czech premiere on October 31.
Interviewer: Welcome to Time.news, where we discuss the latest in film and culture! Today, I’m delighted to have with us renowned film critic and cultural analyst, Dr. Elena Vasquez, to talk about the recent Palme d’Or-winning film, Anora, directed by Sean Baker. Thank you for joining us, Dr. Vasquez.
Dr. Vasquez: Thank you for having me! I’m thrilled to discuss this unique film.
Interviewer: Anora has emerged as a modern twist on the classic Cinderella tale. Unlike traditional romantic comedies that often culminate in a wedding, this film’s story begins at the altar. What are your thoughts on this subversion of expectations?
Dr. Vasquez: That’s one of the film’s strongest elements! Baker cleverly flips the script by showing that marriage, especially in this context, is merely the beginning of chaos rather than the ultimate fairytale ending. It reflects a more realistic view of relationships, particularly in the context of modern pressures and societal roles.
Interviewer: Absolutely! The protagonist, Anora—who prefers to be called Ani—works as a stripper and navigates the complexities of her life pragmatically. How does her character resonate with contemporary audiences?
Dr. Vasquez: Anora represents a powerful archetype. She isn’t a damsel in distress but rather a self-sufficient woman who embraces her circumstances. Her pragmatic approach to her work and the way she handles her interactions reflects a broader societal shift towards empowerment and independence among women. Audiences can relate to her strength, even in a world filled with challenges.
Interviewer: The dynamic between Anora and Ivan, a young man of Russian descent living a lavish yet aimless life, is quite interesting. How does their relationship progression challenge typical romantic tropes?
Dr. Vasquez: Their relationship begins with a sense of mutual sympathy that quickly escalates due to external circumstances—like a whirlwind of chaotic events leading to an impulsive marriage in Vegas. This showcases not only the absurdity of their situation but also a broader critique of romance that often trivializes the complexities of real-life relationships. It’s messy and unfiltered, much like life itself.
Interviewer: You mentioned the film’s cultural critique. Given Ivan’s oligarch parents and the ensuing tension, how does Anora reflect broader societal issues?
Dr. Vasquez: The clash between Anora’s working-class life and Ivan’s affluent background highlights significant class disparities and the expectations tied to wealth and status. Baker uses their story to explore themes of privilege, family pressure, and the challenging balance between personal happiness and societal expectations. It’s a commentary that resonates deeply in today’s context, where the pursuit of love can often feel at odds with family impositions.
Interviewer: The film embraces a blend of genres—from romantic comedy to thriller—seamlessly shifting tones. How does this affect the storytelling?
Dr. Vasquez: This genre fluidity is a testament to Baker’s skill as a director. It engages the audience continuously and mirrors the unpredictability of Anora’s life. One moment you’re laughing at absurd scenarios, the next you’re drawn into a more serious narrative, which keeps viewers on their toes and reflects the unpredictable nature of human experiences.
Interviewer: as you noted earlier, Sean Baker’s films often explore marginalized voices. In what ways does Anora continue this tradition?
Dr. Vasquez: Baker is passionate about portraying the stories of those often overlooked by mainstream cinema. With Anora, he dives into the life of a young stripper, showcasing her struggles and aspirations in a nuanced light. This film continues to give voice to individuals navigating complex societal layers, reminding audiences that these stories deserve to be told and celebrated.
Interviewer: Thank you, Dr. Vasquez, for your insightful thoughts! Anora indeed seems to be a film full of depth and modern relevance. It’s always a pleasure to explore the layers of cinema with you.
Dr. Vasquez: Thank you! I’ve enjoyed our discussion, and I’m excited to see how audiences respond to this fresh take on a timeless fairy tale.