In Quentin Tarantino’s 2019 film “Once Upon a Time in Hollywood,” there’s a particularly memorable scene at the Mason Family ranch that gathered a cast of rising actors, including Victoria Pedretti, Austin Butler, Margaret Qualley and Dakota Fanning. In the following years, these actors catapulted to stardom and later earned impressive accolades. Among them was Mikey Madison, whose performance fuels the prophetic energy of the scene. Today, Madison stars in “Anora,” the latest feature from director Sean Baker, an unskippable movie that will electrify every audience.
Anora (who calls herself Ani) is a stripper from Brighton Beach, one of the largest Russophone neighborhoods in New York City. Due to her basic understanding of the language, her boss usually pairs her with Russian-speaking clients. One night, she meets Ivan, the twenty-two-year-old son of a Russian oligarch. A romance develops between the two, and with Ivan’s desire to avoid deportation, he convinces Ani to marry him in secret. However, their fairytale marriage soon faces a serious threat when Ivan’s parents arrive in New York, determined to force an annulment.
One of the greatest strengths of Baker, who penned the film’s script along with directing, is his ability to humanize characters who are often marginalized—especially sex workers. This is evident in his previous films like “Tangerine,” “The Florida Project” and “Red Rocket,” where he portrays sex workers as people like anyone else, with emotions, desires, doubts and a will to survive, and puts into question their motivations for inserting themselves in such dangerous situations.
In “Anora,” Baker puts this theme at the forefront, giving Madison the spotlight to shine and reveal the many layers of a twenty-five-year-old woman who reflects the experiences of so many across the country. Ani is confident, intelligent, ambitious, bold and astute, yet she has the right to yearn more for her life. Madison fully immerses herself as the New Yorker, embodying every nuance behind it. In every scene, audiences can sense the protagonist’s assurance of her actions, for instance, with clients, because she has navigated this world countless times before.
On the other side of the coin is Ivan (Mark Eildestein), whose portrayal of the spoiled Russian heir is hilarious and credible, sharply contrasting Ani’s upbringing. Just as in the movie, he is younger than Madison; casting him as this naive, impressed boy was a good call because the actor looks so much younger and fragile—like something Anora would eat for lunch.
Before ever getting to New York, Ivan’s parents send their minions out, like in any classic gangster film. Usually, characters sidelined, the trio—Garnick (Vache Tomasyan), Igor (Yuri Borisov), and the messenger Toros (Karren Kaguilian)—is just terrific. In a scene that lasts almost fifteen minutes, they hilariously take Ani hostage, and it cannot be stressed enough how the whole theater cackled throughout the sequence. Special kudos to Borisov, who, despite looking terrifying, delivers a surprisingly sweet performance as Igor—and he almost steals the scene from Anora.
As the story unfolds, the intentions behind Ani’s decision to marry Ivan enter a gray area. It is a captivating choice of Baker’s direction to show that, yes, it could be love rather than ambition. Or it could be both. Or it could be something else entirely. Yet, defining it as one thing would be a shallow interpretation of any of Baker’s works. Just like in real life, people are nuanced, not fully good or bad, but in constant negotiation with situations that arise around them. Anora is a product of her surroundings, and her life expectations are built upon—or limited to—the foundation of her background.
Sean Baker is not afraid of the reality of sex work. From the opening credits, he is committed to showing things as they are, with full respect for the environment—capturing the vibrant neon colors of ambition alongside the grayish reality when a dream is shattered. Baker and Madison are a duo that knew precisely the emotional weight they wanted to convey. Their synchrony is evident; the camera glides towards Ani so effortlessly because Baker understands the movement required in each moment, while Madison pours out the exact emotional wave needed—whether to bring out laughter or heartbreak.
“Anora” made its debut in Cannes last May and, after six months, is still being talked about. It just premiered at the New York Film Festival, and with a film as confident as its main character, it’s no wonder it stands out as one of the hottest movies of the year—and a significant contender for the upcoming awards season.
Everyone will fall in love with Ani, root for her, and laugh and cry alongside her. Her compelling presence owes much to Baker’s excellent screenplay, but it’s also the work of the talented Mickey Madison, whose star is sure to rise after this performance—or perhaps she took flight years ago.
Rating: 4.5/5
“Anora” is currently being screened at the New York Film Festival and will have a wider release by NEON on Oct. 18. Tickets are available here.
