Sean Baker has always been a filmmaker who marches to the beat of his own drum. From his early work like 2004’s Take Out to his mid-2010s entries Starlet, Tangerine, and The Florida Project, there’s no denying that Baker’s thematic focus on the underrepresented and marginalized is consistently intriguing—even if not all of his films have worked for me.
Following his most divisive film yet, 2021’s Red Rocket, there was curiosity about where Baker would take cinephiles next. That journey led to the Cannes Film Festival, where Anora became the first American film to win the Palme d’Or since 2011’s Tree of Life. The win, the overwhelming praise, and Baker’s talents as a filmmaker catapulted Anora into one of the most anticipated films of the awards season.
As awards season kicks off, Anora enters as a major contender, blending elements of Pretty Woman with After Hours. Both stressful and exhilarating, Baker delivers his best film to date—an emotional and exhilarating achievement that showcases his ability as a storyteller and his dedication to championing the unseen.
Anora follows the life of its titular character, who goes by Ani. Ani is a dancer at a strip club, and one fateful evening, her Russian background leads to an introduction that will change her life. She meets Vanya, and their business relationship quickly turns into something more, culminating in a whirlwind Las Vegas wedding. But when news of their marriage reaches Vanya’s parents, they send his godfather, Toros, along with his henchmen, Garnick and Igor, to track him down and put an end to the shenanigans. Things quickly spiral when Vanya runs off, leaving Ani, Toros, Garnick, and Igor to find him before his parents arrive.
As with his previous work, Sean Baker’s screenplay delves into an authentic and distinctive character study. What starts as an over-the-top romp eventually morphs into one of the most thoughtful and emotional stories of the year. While Anora is arguably Baker’s most accessible film to date, his message remains clear: providing a voice to the voiceless. His script underscores this message with resounding success.
A significant part of Anora’s success is how its locations come to life as true characters in the film. Thanks to cinematographer Drew Daniels, Las Vegas and Brighton Beach aren’t just backdrops—they’re integral to the developing relationship between Ani and Vanya, adding depth to the narrative.
While performances in Baker’s films have often been praised, none quite match the star-making turn by Mikey Madison in Anora. Radiating confidence, charm, and vulnerability, Madison anchors the film with what may be the year’s most captivating performance. Mark Eydelshteyn also shines, and his chemistry with Madison is remarkable. Meanwhile, Karren Karagulian, Vache Tovmasyan, and Yura Borisov form one of the most entertaining comedic trios of the year.
Though the film stretches a bit longer than necessary, Anora is a major achievement for Baker. It’s a film that sneaks up on you—after two hours of laughing and cheering, it delivers an emotional haymaker that leaves you both satisfied and wrecked. Anora is easily one of 2024’s best films. Academy, the ball’s in your court!
