Anora | TIFF 2024 | Review by: Benjamin Garrett
Sean Baker is a filmmaker who understands deeply flawed characters are often the most captivating to watch. He writes them in a way where their glaring imperfections are ultimately what makes them so endearing. Anora finds Baker delivering another winning film with a strong lead character, brought to life by Mikey Madison’s star making performance.
The film opens to Robin Schultz’s “Greatest Day”, as the camera moves across private booths in the back of a strip club, bathed in pink neon light. We meet Anora, as she sensually grinds on a patron, knowing she’s got him wrapped around her finger. It might not seem like a significant moment, but it actually tells us a lot about Anora - or Ani, as she prefers to be called. She’s there to hustle, fully aware that sexuality is her most powerful asset.
Baker’s previous films have all felt a little rough around the edges - and I mean that in a good way. They brilliantly capture lower working class in a natural, fly on the wall kind of way. Anora is far more polished and produced, but it doesn’t lose his voice in the process. The production value is a notable step up in all areas, but thanks to Baker’s assured writing and direction, this movie fits nicely into his filmography. It suffers ever so slightly from some pacing issues in the middle, but otherwise this is up there as some of his best work.
Mikey Madison gives the best performance of her career and one of the best this year. It’s demanding both physically and emotionally, as Ani’s taken through a whirlwind couple of weeks in her newfound love life. Madison breathes an infectiously lovable personality into Ani, even though she’s not someone you’d typically root for. She shares a dangerously playful chemistry with Mark Eidelstein, who plays her emotionally stunted playboy lover. Watching their romance erupt into a naive, lust fuelled bliss is joyous, even though you know it’s only a matter of time before it begins to spiral out of control.
It’s easy to see why Anora took home the coveted Palme d’Or at Cannes. Sean Baker continues his winning streak with a funny, tense, and all around human look at the trashier side of lower working class USA. Mikey Madison brings it all together in a career defining performance, that should easily secure her an Oscar nomination next year.
4.5/5
Review by: Benjamin Garrett
