Anora review: Sean Baker's screwball comedy is an anti-cinderella tale with strong eat-the-rich sentiment

Anora

First thing is first. The marketing team for Anora deserves an applause for keeping the Hangover-esque screwball comedy part (arguably the strongest segment in the film) a secret. Two adorable Russian henchmen, Igor (Yura Barisov) and Garnik (Vache Tovmasyan) try their best to gag, assault and overpower Annie (Anora, played by the ravishIng, supremely talented Mikey Madison) as she tries to escape the mansion she is trapped in.

Anora Movie: Plot

It all starts witj Annie, who worked as an exotic dancer in Brooklyn, marrying the rich son of a Russian oligarch Evan (Vanya Zacharov, played by Mark Eydelshteyn). The couple move into their mansion but soon land into trouble when Evan's father finds out that his son has married a ‘prostitute’, bringing disrepute to their family.

What follows next is an absolutely batshit crazy sequence of events where Evan, like a true gentleman, leaves his wife with two Russian henchman as they gag her, assault her and coerce her into cooperating with them. In a hilarious scene, Toros (Karren Karagulian) asks the trio to walk to a nearby club because he doesnt want to park his car again.

Anora Movie: Ending Explained

After Vanya and Anora are divorced, we see Anora tear up in the car and cry in Igor's arms. It is a gutpunch that stays with the viewer for a long, long time. Such is Sean Baker's greatness that he doesn't as much let Anora's sexual trauma (the woman was held hostage, physically overpowered and assaulted) come to the forefront and conceals it under the veil of screwball comedy.

It isn't until the final scene when Igor gives Anora the ring she so desperately wanted that reality hits us—Anora has survived a hostage situation and is visibly suffering from PTSD and sexual trauma. In between shots of the Russian henchmen indulging jn baffonary and cocktail waitresses at the bar throwing punches, the camera zoom's into Annie's face who is visibly traumatized.

Anora Movie: Writing And Direction

Post the gagging, we see a close-up of Annie’s dead eyes. When the film ends with Annie's cries, the viewer feels complicit in her abuse, much like Igor who knows what's happening to Annie is unjust but also ends up playing an active role in holding her hostage. The screwball comedy sequence, exhilarating and rib-tickling as it may be, is a smokescreen that doesn't allow us to see what Annie is going through.

She is slut-shamed by Igor’s family. At one point, I was expecting Annie to lawyer up and take away half of Evan’s wealth but like the deluded filthy rich matriarch of the Zakharov said, “Annie will lose her house, car and everything else”. Baker portrays the reality quite succinctly for it isn't possible to sue an oligarch family with innumerable legal resources at their dispense.

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Anora Movie: What Works, What Doesn't

Sean Baker's symbolism runs deep. As she spends her final night in the mansion, Annie looks out of the window and sees a cold, snowy winter afternoon. She is essentially gazing into her future which was earlier a pretty sunset and clear skies. The feeling of confusion lingers on across comedic scenes. Is Annie really in love with Evan or was their relationship entirely transactional? We never get the answer to the question until Annie tears up and realizes that she has been exploited.

Anora is an anti-cindrella tale where the glass shoe doesn't really fit. Or rather, when Cindrella finds her prince charming, his family gets their marriage annulled. The subtle commentary on social inequality and the portrayal of stigma around sex work is simply phenomenal. Sean Baker’s Palme d’Or-winning film Anora is, without a doubt, one of the most phenomenal films this year.Star rating: 4 / 5 stars