MOVIE REVIEW – Among the gems in this year’s Cannes lineup, Anora stands out as an electrifying journey through two worlds — Russian and American, two languages — Russian and English, and two “currencies” — cash and passion. A storyline that walks in the footsteps of Hollywood dreams, it brings together two young people from vastly different backgrounds, who fall for each other, only to hit the inevitable obstacles that accompany such a romance. The twist? This time, the couple is a New York stripper and the reckless son of a Russian oligarch. So, how long do you think they’ll last?

Director Sean Baker likens Anora to a Cinderella story, but in much the same way his near-Disney-World film, The Florida Project, could be considered a fairy tale. Baker’s rebellious, romantic, free-spirited take on a love story makes Pretty Woman look like a Disney flick. Anora is Baker’s fifth film delving into the world of sex work — from adult film stars to prostitutes — and here he recasts familiar themes into an exhilarating, over-the-top emotional rollercoaster. While the film’s heart beats in Brighton Beach, it’s the Coney Island Cyclone just down the boardwalk that truly captures its chaotic spirit.

Enter an “All-Grown-Up” Russian Boy

Our protagonist Ani (Mikey Madison) works at a Manhattan strip club, performing private dances for business clients — until a quirky Russian newcomer, Ivan (Mark Eydelshteyn), real name Vanya Zakharov, shows up. Ani knows some Russian, so her boss sends her to attend to the high-roller guest. There’s instant chemistry between the two, communicated through a clumsy but endearing blend of two languages.

Ivan, with his genuine kindness and straightforward generosity, is nothing like Ani’s usual clients, who are mostly older men. Just barely older than she is, Ivan lets Ani take the lead, guiding him into a private room where she easily convinces him he’s calling the shots. This dynamic persists throughout the film’s 138-minute run: others may hold the purse strings, but it’s Ani who’s largely in control. And in those tense moments where control slips from her grasp — like when three men try to hold her back — Ani quickly finds a way to turn the tables. By the end of their first night, Ivan has her number saved in his phone.

After a few private encounters at Ivan’s seaside mansion — a veritable palace complete with staff and private security — Ani strikes a deal for a week of exclusive attention. The price? $15,000 upfront, cash in hand. Baker’s portrayal of their transactional relationship is neither judgy nor glorified — it’s presented plainly, almost matter-of-factly. Their time together is more charmingly humorous than scandalous, with Ani making an effort to know him better, while Ivan, eager but inexperienced, races for quick satisfaction and then retreats to video games or TV.

Ivan’s inexperience plays out in an unrefined, almost frenzied way — think an overexcited rabbit in a hurry — until Ani finally suggests they slow down and offers a few pointers. Ivan quickly professes his love and, before long, proposes marriage. Ani finds herself swept up in Ivan’s “seize the moment” mentality — an extravagant escape from her day-to-day reality at the club. Ivan whisks her off to Las Vegas, where chapels stay open around the clock. Some people come back from Vegas with a tattoo; Ani returns with a four-carat rock and a marriage certificate.

Who’s Really in Charge?

If this were a classic Cinderella story, the “happily ever after” would start right about now. Anora, however, is far from a simple fairy tale. Baker is just getting into the thick of it. Ani’s dream lasts for about 45 minutes until Ivan’s parents catch wind that their son has married a “harlot.” Madison’s raw, believable performance as Ani makes it hard to side with Ivan’s parents. Sure, Ani’s eyes widened at the penthouse view and the luxury cars in the garage, but she’s no gold digger. (And if she were? Everyone has their own “currency” — in Ani’s case, U.S. citizenship and a fast track to a green card.)

The drama escalates to feature-length intensity when Ivan’s godfather, Toros (Karren Karagulian), sends in two enforcers — an Armenian man named Garnick (Vache Tovmaysan) and a Russian “gopnik,” Igor (Yura Borisov) — to “fix” things. Baker taps into the chaotic, spontaneous energy familiar from Tangerine, pairing it with vivid, slightly oversaturated visuals. The audience roots for Ani throughout, but there are no real “villains” here — just family and friends alarmed by Ivan’s choices.

Toros pulls every string to annul the marriage, while Ani clings to the hope that it’s real. Ivan, meanwhile, would rather abandon everyone than confront his fierce mother (played brilliantly by Darya Ekamasova), who is already en route from Russia. Baker orchestrates the emotional chaos with expert precision as the situation spirals out of control, building tension until it seems like something disastrous could happen at any moment. If Ani were to disappear, who would miss her first? Answer: us.

Fairy Tales Last Until Reality Sets In

With her soft, girlish voice (2022’s Scream), Mikey Madison brings a striking duality to Ani, whose cynicism doesn’t dampen her belief in true love — even if Ivan barely deserves it. Beneath the sparkling hair tinsel and butterfly nails lies a sharp, resourceful woman embodying the struggles and dreams of sex workers through the ages in a single unforgettable character. Baker’s instinct for casting shines here; Madison’s authentic performance makes Ani someone the audience can’t help but root for.

Mark Eydelshteyn brings a Chalamet-esque boyishness to Ivan, his body language adapting as Ani’s perspective on him shifts: initially a charming prince, then less and less attractive once his parents are involved. Karagulian delivers a memorable performance as Toros, the Armenian godfather reluctant to jeopardize his privileged ties to the Zakharov family over Ivan’s antics. Meanwhile, Borisov’s silent, watchful character — whom Ani calls “creepy-eyed” — turns out to be the only one genuinely interested in bridging the Russian-American divide.

Viewed on its own, Anora is a bold, engaging movie. Yet seen within the context of Baker’s recurring themes — as in Starlet or Red Rocket — it digs deeper, suggesting that sex work is as much a part of society as any other job, albeit one society often tries to ignore. By inviting us to empathize with people we might usually objectify, Baker leaves us with no choice but to feel a connection.

-Gergely Herpai “BadSector”-