As moviegoers, sometimes we’re lucky enough to witness the birth of a movie star in real-time. Whether it’s Emma Stone’s role in 2016’s La La Land or Cher’s turn in Moonstruck (1987), sometimes a role is so good that it allows the actor to fully blossom right then and there. With NEON’s Anora, Sean Baker takes Mikey Madison’s talents to a completely new level with a role that plays to her previously unrecognized strengths — while also managing to be his best film yet.
Madison plays Anora, who goes by Ani, a 23-year-old escort who works at a strip joint in Brooklyn. She openly speaks her mind and always keeps her point of view centered. But when the immature and childish Ivan (Mark Eidelstein) takes a liking to her, things escalate beyond their initial one-week deal: far enough for the two to get married to keep Ivan’s father from forcing him back to Russia. When Ivan’s incredibly well-off family interferes with the marriage, Baker’s chaotic, stressfully funny comedy climbs to new heights as Ani fights to save their marriage.
It’s a classic screwball comedy kind of premise that completely lives up to everything its conception promises. Baker has always been immersed in the lives of sex workers and people who live under the margins. He’s also always taken inspiration from classic film structures and made them his own. While his newest film’s scope is noticeably bigger than The Florida Project or Red Rocket, Baker hasn’t lost any of his sensibilities for digging deep into his characters through humor and disorder.
The playful first act is a particular delight as Baker’s clever and always original screenplay makes the audience fall in love with Ivan just as Ani does. We feel how instantaneous and of-the-moment their connection feels in juxtaposition to some of the other slimy men at the club. Logically, we know that their relationship forms just a little too quickly. But it’s impossible not to go along with the fantasy anyway through Baker’s quick and seamless editing choices. There’s a beautiful self-indulgence that Baker invites the audience to partake in along with the characters.
Baker then uses this dreamy, wide-eyed opening to bravely move into the chaotic family dynamics that test just how well Ani knows Ivan. This middle section is where Baker seems to have the most fun with his overlapping dialogue, capturing the nightlife of the city with the specificity and visual appeal of a John Cavassetes or Robert Altman project.
Here, we meet religious guardian Toros (Karren Karagulian) who stands out as the primary opposing force to Ani’s love. Far and away, though, Igor (Yuriy Borisov) becomes the film’s secret weapon. He’s intentionally made to be a walking stereotype of the tough-to-crack bald Russian guy. Even when watching the family trap Ani to frantically look for Ivan with Igor, Baker keys in on subtle character moments and expressions between the two that hint at something deeper. Even within the chaos fever dream of the story, Baker never loses sight of his characters or their deeper purpose — even if they themselves aren’t admitting their feelings.
Of course, the brilliant performances from the entire ensemble are what bring the quirks and nuances of Baker’s script to life. Madison is an exceptional lead who takes charge of every scene even when her character isn’t in control. She’s funny, sarcastic and constantly navigating the world’s expectations about her. Everything that Madison channels into this role builds up to a completely unexpected but also, upon looking back, inevitable ending that adds an exceptional amount of depth to Ani’s character.
Through Ani’s story, Baker parallels two opposing kinds of love and how everything can make sense in one moment and fall apart in the next. Everything builds up to Baker’s best ending yet. It’s wonderful to see Baker reach for both ends of human emotion — the highest highs and the lowest lows.
Especially on a second viewing, it’s no wonder why Anora won the Palme d’Or at Cannes and placed at the TIFF People’s Choice. Sure, this film will undeniably be one to keep an eye on all awards season but don’t be surprised if it becomes a modern classic in the process. In some ways, it already feels like one.
Review Courtesy of Matt Minton
Feature Image Credit to NEON via IMDb