The people living on the margins of the American Dream – often sex workers – are the central characters in films by Sean Baker, winner of this year’s Palme d’Or at the Cannes Film Festival for Anora.
In Tangerine (2015), a transgender sex worker (Kitana Kiki Rodriguez) crisscrosses Los Angeles pursuing the pimp who betrayed her. In The Florida Project (2017), which earned Willem Dafoe an Oscar nomination for Best Supporting Actor, a young mother and her 6-year-old daughter (Bria Vinaite and Brooklynn Prince) live in a motel in the shadow of Disney World. Both films immerse viewers in these characters’ journeys without heavy emphasis on plot.
Anora: Sean Baker employs classic narrative structure in his latest
Anora relies much more heavily on plot, making it Baker’s most conventional work to date. Social commentary remains present, as Anora (a brilliant Mikey Madison from the series Better Things) is a sex worker, specifically a stripper, living in a modest home in New York.
When she becomes involved with the heir to a Russian oligarch’s fortune (Mark Eydelshteyn), her life turns completely around. Anora is introduced to a world previously beyond her reach and is understandably enchanted. Fortunately, Ivan is also funny, affectionate, if somewhat irresponsible.
Their relationship progresses rapidly, culminating in marriage. Ivan’s parents enter the picture, first dispatching their henchmen Toros (Karren Karagulian), Garnick (Vache Tovmasyan) and Igor (Yura Borisov from Compartment No. 6) to annul the union.
But the three prove somewhat incompetent and hadn’t anticipated Ani’s (her preferred name) resistance. Their first confrontation results in a hilarious scene.
Throughout the conflict, it becomes clear that Anora’s wellbeing isn’t a consideration. She’s viewed as insignificant – for being poor, female, a stripper – and therefore as someone without feelings or rights.
Anora is Sean Baker’s most accessible film
Sean Baker possesses a rare ability to portray these marginalized characters without condescension or judgment, simply as human beings. Anora is practically a perfect film, featuring characters you want to spend time with, fantastic performances (particularly from Mikey Madison and Yura Borisov), and a screenplay with perfect tone. The director knows exactly what he’s doing.
Anora has everything needed to please audiences – its Cannes screenings were events. It’s a delightful comedy to watch and, as such, the director’s most palatable film. That he won the Palme d’Or with this work is surprising.
