Note: Spoilers ahead for “Anora”
“For almost a century, we have paused every spring to elevate and celebrate an art form that has the power, at its very best, to unite us,” Conan O’Brien says, folding his hands as he wraps up his opening monologue at the 97th Academy Awards. Reflecting on the Oscars as an enduring ritual, he adds, “The magic, the madness, the grandeur, and the joy of film worldwide are going to be with us forever.”
Out of all the films that contributed to the “magic” at the 97th Oscars, one stood above the rest: “Anora,” directed by Sean Baker. The film was nominated for six Academy Awards and won five, including Best Picture, Best Actress (Mikey Madison), Best Director (Sean Baker), Best Editing, and Best Original Screenplay.
It was an especially successful night for Baker, who not only directed but wrote, produced, and edited the film. In a career-defining moment, Madison won her first Oscar on her first nomination.
While I expected “Anora” to win several awards, I was not expecting a sweep, especially competing with films like “The Brutalist” and “The Substance.” So what makes “Anora” special?
In “Anora,” the title character, who calls herself Ani, is a sex worker from Brooklyn who agrees to a spontaneous marriage proposal from a client named Ivan, the son of a Russian oligarch. Rotten Tomatoes describes the story’s premise as a variation on a “modern day Cinderella story,” as Ani’s marriage initially seems like a chance at a better life.
When Ivan’s parents disapprove of the union, they send their personal assistants, Igor, Garnik, and Toros, to recover their son and see that the marriage is annulled. When the henchmen arrive at Ivan’s family mansion, chaos ensues: the young groom escapes, leaving his newlywed wife behind.
After Ani attempts to escape, she is violently restrained, and her wedding ring is torn from her finger while she screams, making for the most disturbing sequence in the film.
At this point, the film officially transitions from its glitzy, raunchy introduction to a more serious drama, as Ani is forced to assist the agents in the search for Ivan, who now is ignoring her calls. From here, the odd group visits iconic locations in Brooklyn, like the Coney Island Boardwalk, and searches through shops, restaurants, and nightclubs. This second half of the movie is entertaining but a bit repetitive, as Toros shows different sets of strangers a photo of Ivan on his phone and asks, “Have you seen this guy today?”
Despite its tragic tonal shift, “Anora” incorporates humor throughout, mostly with random one-liners, such as when Toros says, “I don’t have Instagram. I’m an adult, man.”
Although Ivan’s obedience to his parents and disregard for Anora’s emotions make for a predictable plot, that doesn’t make it any less heartbreaking when Ani realizes that the man she married and envisioned a future with never saw her as more than her profession.
Perhaps what makes “Anora” special is its ability to balance extremes, as it shifts from an awkward “romantic dramedy” to somewhat of a suspenseful thriller.
In an interview with The Film Stage, Baker said, “My actors understood that there was going to be this balance of different tones and they made it a part of their performance.” I would argue that the quippy shouting matches between Ani and the henchmen carry the film and allow the story to be secondary to their performances.
Whether someone claims to love or hate “Anora,” it is undeniable that the film makes for a memorable viewing experience.
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