Trigger Warning: mentions of sex, sex workers, vaping, smoking

In the age of situationships and practicing ‘boy sobriety’, it’s unexpectedly satisfying and validating to watch a stripper and a nepo baby take a wild leap of faith in Vegas.

Anora, directed by Sean Baker of The Florida Project, presents a unique blend of genres—starting as a romantic comedy, progressing into an action-crime caper, and settling into a bittersweet coming-of-age drama. The story follows 23-year-old Anora (Mikey Madison), a Russian-American stripper who goes by ‘Ani’, and Ivan (Mark Eydelshteyn), the 21-year-old son of Russian oligarchs. While it is a playful, escapist cinema experience best enjoyed with friends, the film also captures a deep, angsty yearning for intimacy, identity, freedom, and belonging.

Mikey Madison truly embodies the character of Ani—Brooklyn accent and all—with an unwavering commitment to the role. Her performance is the film’s beating heart, which she portrays with authenticity and groundedness despite the chaotic circumstances Ani finds herself in. Opposite her is Mark Eydelshteyn as Ivan, forecasted to be the internet’s next boyfriend: hilariously familiar, effortlessly embodying the emotionally immature modern young man. But behind the wealth and vape smoke lurks something cleverly simple and under-complicated—a character straight out of r/sadboy on Reddit. As young viewers, it was easy to empathise with Ani’s story, whispering the names of ‘Ivans’ from our own experiences.

The film’s cinematography and editing in its first half is a sensory rush—neon lights and fast cuts give an initial sense of spontaneity and youthful abandon, reminiscent of Euphoria or Saltburn, escapist and artificial. Early scenes feel like a saccharine high soundtracked by Russian electronica and hip-hop, with quick, dizzying cuts and camera movement barely allowing you to catch your bearings and demanding your attention at every transition before it slips into a kind of sickly brainrot. Then there’s the comedown. The film progressively slows down, jarring and exhausting as life catches up to the newlyweds.

Alongside Ani, we come to realise that the surrounding chaos actually has nothing to do with her. Her body is a currency, her most complicated relationship is with intimacy, conflicts all brought to life in Madison’s haunting final performance. The film’s ending, much like Baker’s Tangerine, slows the pace, letting the emotional core emerge and forcing audiences to sit, shellshocked, face to face with reality.

Each character, regardless of screen time, holds a universe within them, conveyed through awkward yet realistic dialogue, micro-expressions, and unique quirks. Even Anora‘s interactions with Ivan’s family’s henchmen, who try to annul their marriage, are infused with a surprisingly farcical  “found family” dynamic resembling well-choreographed theatre. The dynamic between Ani and the henchmen, united by their shared frustrations with Ivan and his family, is both absurd and surprisingly poignant; what begins as ridiculous soon deepens into an unspoken bond rooted in a strange familiarity and shared feeling of disillusionment. Beneath the surface, a deeper longing unfolds, subtly displaced and echoed through another character’s journey. This adds another layer of complexity to the exploration of intimacy and connection even in the most unlikely of circumstances.

Adding another layer of realism, Baker casts real sex workers for the club scenes, a choice he’s embraced in past projects. This reflects his ongoing commitment to empathetic, respectful portrayals of the sex work industry, even as society often fails to extend the same humanity.

While Anora is rich with comedy and heart, there is a sense that the film could have added layers to Ani and Ivan’s characters beyond the punchline and the thrill of their escapades—particularly Ani’s Russian heritage, which she feels both connected to and alienated from. Though hinted at, this may have added greater dimension and resonance to the story and characterisation, as well as broader conversations of identity within immigrant or marginalised communities. The film falls short of depicting that cultural nuance.

Verdict

Baker’s ability to balance fun with moments of genuine impact recurs throughout his oeuvre and Anora is no exception. While it may not reach the thematic depths of The Florida Project or Tangerine, Anora captures the hope and ache for freedom, love, and security. Madison’s performance and Baker’s bold, culturally poignant directing synthesise laughter, heartache, and escapism. Anora leaves us exhaling alongside its protagonist, laughter and tragedy ricocheting through the cinema as the credits roll wondering, with Ani, where to go from here.

7/10

Anora is in cinemas. You can view its trailer here.

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