{shortcode-ce979e54ccb81e74bd7bbc76be2ca0b1258ad310}

Sean Baker has long been celebrated for his ability to unearth raw, authentic stories from the fringes of society. His previous works, such as “Tangerine” (2015), “The Florida Project” (2017), and “Red Rocket” (2021), have solidified his reputation for highlighting sympathetic, yet chaotically funny slices of life. Though not always box-office hits, his works have garnered rave reviews and devoted followings. With his latest film, “Anora,” premiering at the 75th Cannes Film Festival, Baker continues his tradition of delivering a vibrant and unpredictable rollercoaster of an experience.

“Anora” introduces us to Ani, played by the captivating Mikey Madison, whose performance has been lauded since the film's debut at Cannes. Known for her roles in “Once Upon a Time in Hollywood” (2019) and “Scream” (2022), Madison’s portrayal of Ani allows her to truly shine. Her quick-witted sass contrasts sharply with her surprisingly whimsical outlook on love. As the film spirals into chaos, audiences are left hoping that Ani holds onto her hopeful perspective despite being presented with numerous reasons to abandon it.

At first glance, “Anora” might seem like a vulgar romantic comedy. The film’s early scenes depict Ani’s extravagant life of luxury with Vanya (Mark Eydelshteyn), who whisks her away on adventures in a private jet to Las Vegas and proposes to her quickly and unexpectedly. This setup could be mistaken for a more believable version of “Pretty Woman.” However, just when Ani believes her life is secure, Vanya’s wealthy parents intervene, sending their henchmen to disrupt the romance and annul the marriage.

As the plot continues, “Anora” transforms from its comedic beginnings into a frenetic farce. The film’s latter half is characterized by escalating chaos, with Baker’s direction and editing ensuring that the comedic momentum never falters. Three goons — Toros (Karren Karagulian), Garnick (Vache Tovmasyan), and Igor (Yura Borisov) — are dispatched to deal with the situation, leading to a series of slapstick mishaps. The film captures the chaotic aftermath with a young, vivacious camera style that mirrors the glitzy, high-energy world in which Ani finds herself.

Despite its frenetic pace and chaotic humor, “Anora” is sweet and deeply human. The film’s humanist perspective eschews clear-cut villains, instead presenting a narrative where everyone is caught up in their own set of problems. The comedy is underscored by a poignant commentary on wealth and privilege, offering an insider’s look at both the lavish lifestyle of the super-rich and the harsh reality faced by those from lower economic tiers.

As the film’s two-and-a-half-hour runtime progresses, viewers may feel the weight of its length, especially as the narrative stretches into a climax that some might consider drawn out. Yet, this extended duration allows for a deeper emotional resonance, culminating in a final sequence that balances the film’s earlier slapstick with a more subdued and contemplative tone.

Baker’s “Anora” ultimately reaffirms his status as a poet laureate of the hustler class, capturing the beauty and struggle of characters often neglected by mainstream cinema. The film’s vibrant energy, combined with its heartfelt moments, ensures that it remains a compelling and emotionally rich experience. As the credits roll, viewers are left with a sense of bittersweet satisfaction, rooting for Ani’s resilience.

The film is more than worthy of Cannes’s Palme d’Or this year and especially worthy of the world’s attention.

—Staff writer J.J. Moore can be reached at jj.moore@thecrimson.com.