Sean Baker’s Anora is a daring and unflinching exploration of identity, privilege, and the timeless search for love. At first glance, the film may seem like a modern Pretty Woman – a story of an escort swept into a new world by an unlikely romance. But where Pretty Woman embraced fairy-tale charm, Anora boldly subverts it, delving into grittier, more complex territory that leaves behind any notion of a Cinderella story.
The plot centres on Ivan (portrayed with nuanced charm by Mark Eydelshteyn), the son of a Russian oligarch living on his own in his father’s Brooklyn bayside mansion. Ivan’s initial portrayal as a sweet, almost naive young man is disarming. Sent to America to study so he can join his father’s empire, he prefers instead to squander his father’s money for gratification that is far more instant.
Further along the Brooklyn coastline, Anora (played with refreshing gusto by Mikey Madison), lives in far more modest surrounds in the predominately Russian-immigrant neighbourhood of Brighton Beach. With a Russian background herself, Anora, or ‘Ani’ as she is known, pays her own way through life working nights as a stripper and sometimes escort in a Manhattan strip club.
Out partying with his friends, Ivan visits the club and the club manager, aware of the earning potential, is keen to ensure Ivan is a satisfied patron. He approaches Ani, as his only employee who can speak Russian and instructs her to give Ivan the VIP treatment he expects.
Self-assured, experienced and saucy, Ani knows what to do and gets to work entertaining Ivan as only she can. Enchanted by Ani’s charms, Ivan offers to pay Anora a handsome sum in return for a week of her company. This serendipitous union becomes a catalyst for a whirlwind of chemistry and chaos with equal amounts of thrills, shock and hilarity.
Baker is no stranger to making films that cut to the raw reality of life on the fringes of society. So too with Anora, where he deftly explores themes of power dynamics, cultural dissonance, and the human longing for connection. But while Baker’s signature style is unmistakable here, Anora also feels like a breath of fresh air. He doesn’t sugarcoat this collision of the classes.
Ivan’s life of privilege and excess, punctuated by endless parties and PlayStation marathons, contrasts sharply with the world of Anora, whose life is far removed from such glitterati and glamour. A fish out of water is an analogy never more fitting with Ani out of her depth, and Ivan having to deal with the very adult consequences of his juvenile decisions.
The screenplay, written by Baker, is crafted with exceptional wit, and despite some weak moments, its raw edginess carries much of the film’s overall brilliance. Its effortless flow makes every scene feel authentic, striking a perfect balance between humour and poignancy. The comedic moments are genuinely hilarious, yet the film never shies away from the heavier undertones of its subject matter. Instead, Baker handles these themes with a levity that feels both natural and deeply affecting. Indeed, it is Ani’s raw honesty and resilience that anchor the film.
Visually, Anora is as bold as its narrative. Baker’s knack for capturing the raw textures of urban life infuse the film with a vibrant authenticity, making the story’s highs and lows resonate all the more. The contrast between Ivan’s gilded, detached world and Ani’s gritty, lived-in reality is rendered with striking clarity, reflecting the characters’ struggles to reconcile their differences.
At its heart, Anora is so much more than its provocative premise. A Pretty Woman romance this most certainly is not. And there is no glass slipper being left at any ball. But while it’s filled with moments of levity, Anora will have you pondering its themes long after the credits roll – a true testament of any good fairy tale.
Rating: ★★★★½
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