The films of Sean Baker are almost a distinct genre in their own right. There are no superheroes or cliched characters in his movies.
Instead, the US-born-and-based director and screenwriter focuses on telling the stories of the most downtrodden layers in society.
In the process, he brings out the complex and contradictory nature of human beings and their relationships, and reveals the bleak reality of the so-called ‘American Dream’ for millions.
Baker’s latest feature, Anora, is no exception to this award-winning formula.
Hedonistic adventures
The eponymous protagonist of this comedic-romantic drama is Ani, a 23-year-old strip-club worker from New York, played enchantingly by rising Hollywood star Mikey Madison.
During one regular shift – at the high-end joint where she provides ‘entertainment’ for wealthy clients – her boss introduces her to Ivan ‘Vanya’ Zakharov (Mark Eydelshteyn), the roguish, reprobate son of a Russian oligarch.
Vanya takes an instant liking to Ani, as they strike up conversation in broken English and Russian.
And before she knows it, Ani is being whisked off on high-flying, hedonistic adventures as Ivan’s ‘girlfriend’ (i.e. well-paid escort): partying with other spoiled rich-kids in the Zakharovs’ American mansion; donning luxurious new clothes; and betting eye-watering amounts in Vegas casinos.
Chewed up and spat out
Caught up in this whirlwind of glitz and glamour, at Vanya’s request, Ani leaves her former job. “You’ve really hit the jackpot,” one of her former colleagues remarks, as she says her goodbyes. But the fantasy quickly becomes a nightmare.
Ivan’s parents, residing back in Russia, do not react well to the news that their son is cavorting with sex-workers, when he should be spending his time in the USA studying.
And having initially flattered Ani with affection and money, Vanya rapidly abandons her when his family interjects and bursts their bubble.
The moral of the story is clear. The rich-and-powerful can effectively do as they please. It is those at the bottom, meanwhile, who suffer the consequences.
Ani, like the rest of the working class, is completely dehumanised by Ivan and his billionaire relatives.
For this affluent brat (in the original, not the Charlie XCX, sense of the word), she is little more than a toy; a plaything to be picked up and discarded at his caprice. And when the going gets tough, Vanya has no qualms about chewing her up and spitting her out, like a cheap piece of gum.
Gen-Z tragedy
Anora, in this respect, is like a Greek tragedy for Gen-Zs. The inevitably destructive outcome is clear from the start. We know that Ani is doomed to her fate from the moment she meets Ivan, due to the vastly unequal power imbalance between them.
From the beginning, our sympathies lie with Ani. She projects a charming, carefree confidence. Yet she is also deeply naive, allowing herself to get sucked into Vanya’s tawdry world, despite all the obvious risks and dangers.
In the confines of the strip booth, when it comes to the men who frequent her establishment, Ani feels in control. But now, when it comes to her exploitative, oppressive relationship with Ivan, she is compelled to constantly accept his indecent proposals.
In this respect, Baker’s new film – with its gritty portrayal of life under capitalism, and its grim depiction of the ways in which ordinary people get screwed over by those with money, influence, and power – feels far more believable and realistic than superficially comparable films like Pretty Women.
Providing laughter and sorrow in equal measure, Anora has already picked up the Palme d’Or at this year’s Cannes Film Festival. And it will surely be in contention for a number of prizes at the upcoming awards season. It deserves all the praise that it gets.
Check it out in cinemas now. And if you haven’t already, treat yourself to Baker’s excellent back catalogue, including the poignant Tangerine and heart warming-but-depressing Florida Project. You won’t be disappointed.
