#TIFF24: “ANORA” REVIEW

By David Baldwin

Anora (Mikey Madison), or Ani as she prefers to be called, is a sex worker working at a New York gentlemen’s club. One evening, a guest requests a dancer who can speak Russian. Ani fits the bill and meets Vanya (Mark Eydelshteyn), the charming, high-rolling son of a Russian oligarch. He is instantly enamoured by Ani and asks to spend more time with her outside of the club. They begin a transactional relationship which turns into marriage soon after. When Vanya’s parents find out, they are none too pleased.

Multi-hyphenate Writer/Director Sean Baker won the Palme d’Or for ANORA at this year’s Cannes Film Festival for a good reason – it is a magnificent film and one of the best of the year. Full stop.

The Filmmaker, whose previous films include Red Rocket and The Florida Project, has crafted a one-of-a-kind film that starts off like a romantic fever dream before evolving into a wildly intense ride akin to something the Safdie Brothers would make. It is a genuinely delirious pivot that Baker crafts beautifully and carefully, subverting expectations as he goes along. Everything that happens remains grounded in reality and never veers into the fantastical. That may disappoint some people, but it never feels disingenuous. His eye for realism extends into his depiction of sex work as well, not treating it or the strip club that factors into much of the film with the typical Hollywood glow-up. Instead, he avoids any voyeuristic gazes and depicts what it really looks like and more importantly, depicts it with the respect it deserves. Baker has long been a proponent of sex work and his inability to play into antiquated notions of it works to the Film’s benefit greatly.

All of this praise would be meaningless however without Madison, who gives a star-making performance as Ani. She is a whip-smart firecracker who speaks her mind (often profanely) and takes shit from absolutely no one. Madison infuses Ani with a ferocious energy that propels her through the entire film, only briefly hinting at the emotional interior underneath her warrior-hardened exterior. She is expressive in her pleasure with her profession and will gleefully and ravenously take down anyone who writes her off as a mere prostitute. Madison’s raw physicality and intimacy adds depth to the performance, as does the New York accent she uses to deliver every hilarious and devastating line. You hang on every moment of it, unable to look away for fear of missing out on another expressively brilliant layer she adds to Ani.

While all of the supporting players are great (Eydelshteyn’s Vanya and Yura Borisov’s Igor are the standouts), none of them can even dream of matching the strength of Madison’s performance. It is spectacular, must-see work that will stay with you long after the credits roll and will thankfully, ensure she will not be typecast as the villain who gets set on fire at the end ever again.

ANORA screens at TIFF’24:

Sunday, September 8 at 8:00PM at Royal Alexandra Theatre

Monday, September 9 at 8:30PM at Scotiabank Theatre Toronto