Films

Anora

Contributed

10 Dec 2024 — 2 min read

By Jack Weir

Sean Baker’s latest film Anora is as much a hysterical romp as it is a profound character study. Annie, a sex worker from Brooklyn, falls in love with the son of a Russian oligarch and impulsively marries him in a modern retelling of Cinderella. Once the news reaches Russia, Annie’s fairytale is threatened as the parents seek to get the marriage annulled.

I can say without a doubt that this is Baker’s funniest film to date, which is high praise considering the side-splitting Red Rocket that preceded it. Much of the humour can be found in Mikey Madison’s endlessly entertaining performance as Annie, whose personality starkly contrasts her pursuers. Annie is unwaveringly foul-mouthed and brazen, even as she meets the stony upper echelons of the Russian oligarchy, to hilarious effect. The bumbling henchmen face numerous hurdles as they find that Annie is more than capable of contending with them, complicating the ensuing chaos.

Anora’s eclectic soundtrack is populated by recent pop bangers, making the film feel all the more contemporary and grounded in reality today. Anora is even more visually stunning than Baker’s previous films, featuring dynamic camera movements through neon-drenched spaces and pacey editing that proves intoxicating. Baker creates a vibrant portrait of the world with Anora, unfiltered and unapologetic, much like Annie herself.

I have never heard more laughter during a screening than at the UK premiere of Anora. Baker is able to seamlessly blend this hilarity with emotion in Anora, making it a three-dimensional experiential masterpiece and a surefire contender for the Best Picture Oscar this year.

Jack Weir is a graduate of Edinburgh Napier University’s Film BA (Hons) course

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