Sean Baker’s Anora has taken the awards season by storm, earning six Oscar nominations, including Best Picture and a Best Actress nod for first-time nominee Mikey Madison. While the film was overlooked at the Golden Globes, it made an impressive comeback, winning Best Picture at three different award shows in a single weekend. Madison, a fan-favorite for Best Actress, also secured a BAFTA Rising Star nomination, further cementing her breakout status.
For Baker, Anora represents a career milestone. Known for The Florida Project and Tangerine, he has finally secured his first Oscar nomination, elevating his standing in the industry. The film’s accolades and its breakout cast are certainly noteworthy—but does the film itself live up to the hype?
Anora follows its titular character, though ironically, she refuses to be called by that name, insisting on „Ani” instead. The reason for her aversion is never explained, making the film’s title feel almost contradictory. The narrative itself is equally ambiguous, revolving entirely around Ani’s passive reactions to the events unfolding around her. She remains a bystander in her own story, only taking control in the final moments—after spending much of the film in denial.
Initially, Madison was the predicted frontrunner for Best Actress, though the momentum has shifted toward Demi Moore for The Substance. While Madison’s performance is commendable, the film relies so heavily on her presence that it becomes difficult to assess her acting independently of the film’s weaknesses. Anora takes place over the course of a single day—a storytelling structure that can be compelling, as seen in Little Miss Sunshine or Friends’ classic episode The One Where No One’s Ready. However, where those narratives develop characters or introduce meaningful twists, Anora remains stagnant. Ani’s only shift in personality comes from her interactions with Vanya, yet her transformation feels unconvincing. As a Brooklyn stripper, she is established as sharp and intuitive, adept at spotting manipulation. Yet, within a week, she becomes inexplicably passive, contradicting everything we know about her character.
The film also received a nomination for Best Original Screenplay, but its dialogue is either painfully direct or entirely inaudible. Many scenes are dominated by characters yelling over one another in a way reminiscent of Euphoria. However, Euphoria used chaotic dialogue to heighten tension in well-developed relationships. In Anora, this shouting starts immediately, leaving little room for the audience to connect with the characters before being thrown into conflict.
Adding to the confusion, Anora was nominated as a comedy at the Golden Globes, despite lacking comedic elements. Any attempts at humor feel misplaced, clashing with the film’s tense atmosphere.
I went to Anora with high expectations, drawn by the Cannes Palme d’Or win and the critical acclaim surrounding Madison’s performance. However, I left underwhelmed. The film’s script, lack of narrative development, and disjointed tone make its status as an awards frontrunner baffling. While its lead performance shines, Anora ultimately falls short of its lofty praise.
Written by Salma El Ashmawy (17 years) – 16/2/2025