Anora

It's quite obvious that I loved to see a good representation of the Russian language in an American movie, and even some really cool Russian actors, such as Borisov, Ekamasova, and, of course, our everything, — Serebryakov. What really surprised me was to see the respectful representation of Armenian people and language. Just wow.

The rest of the movie is cool too.

People don't really realise how deep this film is actually. I saw people bashing it because it won the academy award for the film of the year and was it all worth it? I don't know. I am very bad at choosing the best out of the best. This film is all about breaking your shell to dream about something you can never even imagine in your wildest dreams. Anora, the name I like the most or Ani, is a sex worker who is used to please people and leave without any strings and what happened when someone barged into your life and promised you forever? Despite of you being aware of the fact that destiny is just messing with you but you still dared to dream? Anora did that exact mistake that for one second someone accepted her as a person she always wanted to be. But obviously, the guy turned into batshit because he's not a man but a spoilt brat which Anora clearly predicted from the very beginning yet she dared to dream. A beautiful social commentary on today's immature causal relationships and fake dreams everyone selling eachother.

Brilliant acting, Mikey fucking Maddison is a goddess. Everyone was top notch. Igor is the gentleman of the year. Bro clearly is the only human in that film. The music is top notch. The cinematography is magic. The screenplay is uncomfortable. That house interrogation scene was the reason why this film got an Oscar. Screenplay writting at its best. It will make you laugh at the things you shouldn't laugh at. That's what BRILLIANT writing is. I was in awe and i felt horrible to laugh at the chaos Anora went through. Still, the entire film will make you laugh at things you shouldn't laugh at. That climax was the entire conclusion of the film. When Igor gave her the ring, her general instinct was to give her the service and when he tried to kiss her, she realised what it meant. Pure class. Masterpiece.
Best film of the year? Maybe. Just maybe. Touché

Sean Baker turns “Anora” into one of those movies that seem to glide effortlessly, driven by a chaotic, almost comedic energy, but slowly peel back layers of pain, loneliness, and social brutality. He has this rare ability to balance the mundane and the extraordinary, the funny and the devastating, and here he delivers a film that refuses to be just a comedy of errors or a socially conscious drama. The movie pulses with the rhythm of New York, but not the postcard-perfect version—the cold, indifferent city where dreams crumble in dimly lit alleys and cramped apartments. Baker throws us right into this whirlwind, following Anora (Mikey Madison), a character who could have easily been reduced to a stereotype but instead comes alive with an impressive depth and force.

From the very start, Anora isn’t framed as a victim or a heroine. She’s just a young woman trying to get by, working as a stripper and escort without any grand illusions that her life is about to change dramatically. Baker constructs her routine with precision, pulling us into a world where every little detail matters—the sharp humor between coworkers, the annoying clients, the way she navigates these interactions with a mix of wit and resignation. And then Ivan (Mark Eydelshteyn) shows up—the Russian playboy who offers the promise of a sudden shift. He’s not exactly a Prince Charming—he talks too much, seems lost in his own privilege, and acts like a tourist in his own life—but for Anora, he represents something different, maybe a glimpse of stability. When he proposes, the film swerves away from the obvious, treating it neither as a fairytale nor as a well-planned scheme, but as an inevitable accident, an impulsive decision that spirals into unexpected consequences.

Baker is a filmmaker deeply interested in class dynamics, and “Anora” plays almost like a study of how wealth shapes (and destroys) relationships. What starts as an improbable romance quickly turns into a lopsided power struggle when Ivan’s family finds out about the marriage and does everything in their power to erase it. That’s when we meet the clumsy enforcers sent to remove Anora from the equation—tragicomic figures who, just like her, are nothing more than disposable pieces in a bigger game. Karren Karagulian, Vache Tovmasyan, and Yura Borisov play this trio brilliantly, swinging between brutality and buffoonery, like they walked straight out of a modern-day Coen brothers’ film. But it’s in the relationship between Anora and Igor (Borisov) that the film unexpectedly finds its heart. He enters her life as a threat but slowly recognizes something in her that connects them. Baker’s direction lets us feel this shift without hammering it in, allowing the characters’ evolution to unfold organically.

Drew Daniels’ cinematography captures this version of New York in a raw, atmospheric way, evoking a kind of urban cinema that feels like it belongs to a different era—wet streets, hazy neon lights, a texture that’s almost tangible. The city isn’t just a backdrop; it’s a silent character, a space that suffocates and spits out those who can’t bend to its ruthless rules. The use of analog film adds another layer of realism, making each scene feel more immediate, like we’re peeking into these lives without any filters.

But what truly makes “Anora” special is Mikey Madison’s central performance. She delivers one of the most mesmerizing performances of the year, capturing every nuance of a character who swings between toughness and vulnerability. Madison builds Anora with precise physicality—she moves through the world with the confidence of someone who’s learned to protect herself, but there are moments when her body betrays her exhaustion, showing cracks in her armor. The script lets her explore this complexity without falling into clichés, resulting in a protagonist who’s never reduced to a symbol or a narrative function.

Overall, “Anora” is the kind of film that sneaks up on you. It starts as a fast-paced, borderline absurd comedy but gradually morphs into something more melancholic, more human. The violence in the story is never sensationalized but instead lingers in the background, in the way people are discarded and in choices made not out of ambition but out of necessity. By the time we reach the final moment—a blunt, inevitable gut punch that somehow isn’t devoid of hope—we realize Baker has taken us somewhere few filmmakers can. He made us laugh, he made us feel the rush of the chase, but more than anything, he made us see the beauty and tragedy in a quiet, invisible struggle that plays out every day in the least glamorous corners of a city that never sleeps.

Long. But I couldn't take my eyes from the screen. This can be a real-life story, and maybe it is already. I strongly encourage you to take your time and watch the movie.

A full on roller coaster ride, loved it

Anora (2024)

Just an amazing movie. This is a modern day, "Pretty Woman", but much more raw and real. A true portrait of two vastly different worlds colliding, young, spur of the moment infatuation and its consequences. Go along for the ride, it has moments of silliness, excess, realism, heartbreak and kindness. Some really strong acting performances by lead, Mikey Madison and the entire supporting cast.

Without giving away too much, there are some very relatable themes in the movie, which adds to its heartfelt genius.

10 out of 10

This one is a future indie classic.

Anora is a movie that lives up to every award and praise it has received. It holds no punches and sugar coats nothing. It’s gritty and shows life as it is. It feels like raw, unfiltered conversation that we are invited to see. At no point did it feel like actors delivering lines, but rather actual conversations. Everything from the dialog to the camera work to the actors to the editing is done to make Anora feel like a real world full of real people in real scenarios having real conversations.

Anora is definitely not for everyone, and that’s okay. People expecting a traditional movie will be throughly disappointed. However, if you are willing to suspend disbelief and take the movie as it shows itself, you will see the artistry and messages it carefully displays.

From beginning to end, Anora delivers a powerful glimpse into the life of parts of society people forget exists. Absolute 10/10 masterpieces.

'Anora' is an absolute cracker! The film is unadulterated chaos, I honestly needed the silentness of it ending so I could relax. As usual, I'm not one to judge it on its deep-rooted meaning or whatever, I'll leave that to others, all I can say is that it's a blast and I unequivocally loved it.

Mikey Madison's performance is sensational, quite the showing indeed! Apparently I've seen her in three other things (much less prominent roles, admittedly) before, evidently I don't remember her from those - but safe to say, I won't be forgetting Madison from this at any point. Superb!

Away from the star performer, Mark Eydelshteyn makes the most out of his role. The trio of Karren Karagulian, Vache Tovmasyan and Yura Borisov are great comedic support. I've seen Aleksei Serebryakov here and there down the years and he always plays the same roles, I like him though.

The 139 minutes go by in a flash, with the utterly chaotic nature it is no surprise. It isn't the most difficult movie to predict given that you are waiting for the crap to hit the fan, but how it gets to that point is a wild ride to witness - the concluding scene is stand out, too.

I still have three more of the nominees to watch, but this overtakes 'The Substance' as the film that would hypothetically get my vote for Best Picture; not that I take much value from that (or any other) awards ceremony. It'll take some beating!

Wow
What a movie Oscar for MM

I think when people talk about a “star-making performance," they mean something like Mikey Madison's work in "Anora." She's fantastic throughout, giving a multi-layered performance that never falls into clichés. The latter is not something that can be taken for granted with a plot that is somewhat reminiscent of "Pretty Woman." But director Sean Baker has already proven several times in the past that he can tell stories about sex workers without pointing the finger at them.

Overall, however, I would say that the whole profession is glorified a little in "Anora," especially in the first third of the film. But since Madison's performance is so refreshingly lighthearted and the tone remains humorous, this doesn't carry too much weight. At some point, there is a relatively clear cut anyway, so that suddenly a completely different kind of movie emerges. Then other characters appear on the screen who are not at all what you would expect. The interplay between Madison's Ani and the other characters ultimately ensures a high entertainment value up to the very end.

Baker also finds the appropriate ending for his film. This perfectly rounds off the story about sex and the double standards of society, especially the rich. For me, “Anora” is a complete success. I would only strongly advise people who have a problem with a lot of nudity in films not to go to the movies. For everyone else, it's an obvious recommendation.