In all of the things you could imagine cinema has to offer, an erotic dance to a club remix of Take That’s Greatest Day is probably not the first thing that springs to mind. But that’s exactly how writer / director Sean Baker’s latest film, Anora, opens. The no doubt soon-to-be cult classic film is a chaotic romantic drama that really gets under the skin of its characters whilst challenging audience perceptions.
Ani (Mikey Madison) is an erotic dancer and escort who is roped into spending an evening with Ivan (Mark Eydelshteyn) as she is the only Russian speaker in her club. Ivan is immediately enraptured with her, offering her $15,000 to spend the week as his live-in girlfriend. During a wild trip to Vegas, the pair impulsively get married, as Ivan is convinced it’s the ultimate two fingers up to his parents back home in Russia. However, their Cinderella romance is soon brought to a screeching halt by threats of an annulment.
Anora, at times, feels like the flashy Vegas amusements we see on screen. It’s cinema as a wild ride. It’s all neon lighting and thumping club tracks; glitter hair and diamante underwear. But it is by no means all surface. It is part screwball comedy, part force to be reckoned with. What Baker has previously succeeded in (in the likes of The Florida Project) is fleshing out all of his characters and bringing them to life in a nuanced way that will make you change allegiances and question yourself. He does the same here. The writing is absolutely flawless, making you either want to die of cringe, laugh out loud or recoil in horror. It is no mean feat to keep an audience entirely onside – and on their toes – for over two hours.
Mikey Madison dominates the film with her performance as Ani. She’s not your cliched “tart with a heart” or even a golddigger. She’s a young woman who hustles for her money; a fast talker and a natural performer. As her feelings for Ivan grow throughout the film, we get to see more of her than just the party girl who knows how to seduce and compliment. She is softer; even swapping cheesy school girl skirts for oversized tees and comfy loungewear. Madison’s performance is vibrant and all-consuming. When she screams – a piercing, from the soul scream – at Ivan’s Russian “handlers”, you will feel all of the rage and despair she feels, too. When she laughs coquettishly, you will feel flattered. When she loves, she loves with everything she has. It’s a genuinely stunning performance that will reel you in from the moment she appears on screen.
Mark Eydelshteyn is a sort of “Peter Pan” type character whose frantic attempts at sex reveal his immaturity. He has endless amounts of money and time to kill therefore it makes sense that his world is all parties and Playstations. His refusal to join the family business back in Russia because it sounds like too much hard work – and his petulance once his parents appear – turns him from goofy new money to arrogant wee prick. It’s this change of heart, for both the character and the audience watching him, that underlines how good Eydelshteyn’s performance is.
The film feels very playful, despite tackling relatively serious subject matter. The scene where Toros (Karren Karagulian), Garnick (Vache Tovmasyan) and Igor (Yura Borisov) barge their way in to Ivan and Ani’s mansion is straight out of an old-fashioned farce. There are chases around the couch, tyings up and slapstick violence. It’s fantastic to watch as every person in the scene is on top of their game. But there are also moments of heartbreak, as Ani pleads with Ivan to “be a man” and stand up for what she really seems to believe was a true connection between them; a love story.
Anora won the Palme d’Or at Cannes and it’s not hard to see why. The ending alone will leave you breathless, like a punch to the stomach. It perfectly balances chaos and heartbreak; the fantasy land of millionaires and the hustle of the working class. Yes, it’s dizzying and dazzling, Baker seems to say, but it you look closely enough at the glitter and gold and you will see it is not quite as alluring as it promises.
With knockout performances and excellent writing and direction, Anora has won the hearts of many across the festival circuit. Here’s hoping that translates into box office takings because, boy, is this a film whose brilliance needs to be seen to be believed.
Anora is screening at the London Film Festival and is due for release in UK cinemas on November 1.
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