Ivan and Anora have not known each other for very long – but they’re married already. For Anora (aka Ani, portrayed by Mikey Madison) – a Brooklynite stripper and sex worker – it’s been a whirlwind romance supplied with the most outlandish lifestyle. He’s the fairytale client who has everything she could ever want. As the son of a Russian oligarch, Ivan (aka Vanya, portrayed by Mark Eydelshteyn) has got more money than responsibility…or hair on his chest for that matter. He likes to split his free time between sex, video games, alcohol, and drugs, all within the cozy confines of his parents’ mansion (that is when he’s not spending time in his favorite Vegas hotel suite). They have more ridiculous, lavish fun in one week than most people would have in a lifetime. In Vanya’s eyes, tying the knot just makes sense, and why should Anora disagree?
Unfortunately, Sean Baker’s “Anora” is a Grimm fairytale, and the titular princess is about to find out that her prince charming is…well…not.
It’s worth stating right off the bat that this is an intensely funny movie. It packs 130 minutes to the brim with some of the most stress-inducing comedic moments that I’ve seen since, probably, “Uncut Gems.” The energy is palpably anxious, but it’s elevated to a level of hilarity just by how sharp the writing is. Watching Karren Karagulian (playing Toros, Vanya’s handler) and his cronies have to panickedly organize a marriage annulment for the two least-willing participants of all time, boils down to one of the most entertaining film experiences of the year. Absolute gold from start to finish. There are also some truly inspired moments of physical comedy too, including a naked roly-poly that had people in my screening howling with laughter.
The real soul of “Anora,” though, lies within its most exceptional asset: Mikey Madison. As someone familiar with her work in “Scream” (2022) and “Once Upon a Time in Hollywood,” but as a first-time watcher of her in a leading role, I’m absolutely floored. It’s the kind of portrayal that makes you want to shout from the rooftops about how good it is. Seriously. Hilarious, bold, yet having the audacity to break your heart in equal parts. Make no mistake, this is a comedy of sorts: “Anora” is also exceptionally unsettling.
At its core, this is a tragedy about a woman who has been used by someone – who, mind you, days earlier had just committed to loving her forever – as nothing more than a dopamine hit. She has no agency, no trust in others. It’s no surprise, then, when it was revealed that Madison had hosted a private screening of the film for sex workers and strippers last month. The bravery of our protagonist in the face of insurmountable shame, the presumption of being a ‘single-use human’, is a lifeline to those workers. It is also, crucially, a lifeline to any woman who has felt used in ways that are inconceivable to most men.
The final few minutes of this film are uncomfortable and devastating, leaving us hollow throughout the runtime of the credits. That’s not to say that this is a horror show. This isn’t art that carves you out without enabling you with insight, Baker and his sensational cast and crew (as a quick aside: this film looks incredible, shout out to Drew Daniels), are too whip-smart for that. No, “Anora” leaves you both empty and full…almost paradoxically. A movie that gives you so much laughter, only to cruelly jam a shiv in your ribcage moments later. A slow, brilliant, dirty trick of a dramedy. Worming cold, tangible sadness – moment by moment – deeper into your mind.
This is a triumph. Do me a favor, go watch “Anora.” Then, immediately after, start campaigning for Madison’s Oscar. I shouldn’t even need to tell you to.
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