Review: ‘Anora’ marries comedy, class consciousness

By Arman Saxena     11/12/24 10:13pm

Score: ★★★★½

Arman Saxena

“Anora” isn’t a traditional romantic comedy, though parts of it may play like one: its protagonist is an erotic dancer, its meet-cute is in a strip club, and the central couple’s romance takes them on a whirlwind of sex, money and drugs. Still, the scenes of the couple dancing in the neon-lit streets of Vegas are some of the most romantic of the year thus far. 

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These romantic scenes aren’t the only thing Sean Baker’s newest feature does well. “Anora” blends dark screwball comedy, crime drama and class conscious thematics with aplomb. It’s a mash of genre and tone that never feels false due to the tandem of Sean Baker’s ultra-specific writing and Mikey Madison’s phenomenal work in the titular role. 

“Anora” is achingly human, laugh-out-loud funny and rife with food for thought to the perceptive viewer.

The film grabs the audience from its very first scene — a neon-lit strip club sequence soundtracked to Robin Schulz’s electro-pop rework of Take That’s “Greatest Day.” This is where we meet Anora, the protagonist and the heart and mind of the film. Anora is a go-getter: She goes the extra mile to get more out of her client’s pockets, and the film’s opening scenes follow her as she moves through her night. 

The quick editing used here emphasizes that all of this is part of a normal day for Anora. However, Anora’s world becomes as far from normal as possible when Ivan, the son of a wealthy Russian oligarch, walks into the club and requests a dancer that can speak Russian. Anora, coincidentally, is of Russian descent and their meeting begins the central plot of this roller coaster ride of a film. 

“Anora” delves deeply into the grit of sex, drugs and money, but its heart beats with a thoughtful critique of class and the American Dream. While Anora’s life might seem thrilling at first glance, the film doesn’t shy away from showing the limitations imposed by her circumstances. She works without health insurance, bound to a rigid schedule, and her “freedom” is, in reality, carefully restricted — something the film implies is a direct product of her lower-class status.

Mikey Madison’s performance as Anora is a revelation, cementing her as an undeniable Oscar contender. Madison breathes life into a character who is tough, resourceful and relentlessly defiant. Her scenes talking back to those who seek to exploit her are some of the best of the film. 

Her defiance also contributes to some of the film’s hilarious screwball comedy sequences. Director Sean Baker, renowned for his breakout film “Tangerine,” brings a similar energy here, blending screwball and black comedy to emphasize both the absurdity and the darkness of Anora’s world. Like Tangerine, Anora is soundtracked by an electric, pulsing score that keeps the momentum high, while fast-paced editing ensures that the film never drags. 

Anora’s romance with Ivan, the son of a wealthy Russian oligarch, offers a sharp, unsparing look at class dynamics. Ivan embodies the promise of the American Dream for Anora, an escape from her current life and a step into the world of wealth and privilege. But this dream proves illusory: Ivan’s family forbids him from marrying “a prostitute,” leaving Anora locked out of the life he dangles seductively before her. The film starkly illustrates the lie behind the American Dream — while society may glamorize freedom and upward mobility, strict class barriers persist. 

Blending screwball comedy, sex and social critique, Anora is both hilarious and thought-provoking, a dazzlingly original addition to Sean Baker’s filmography. With strong direction, electric editing and cinematography and Madison’s unforgettable performance, “Anora” stands as one of the best films of the year. 

The film is a sharp reminder of the limits imposed by class, even in a society that touts itself as the “land of opportunity,” Don’t be surprised if this film ends up at the top of this year’s Oscar Best Picture race come March.

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