Anora (2024) - Sean Baker's Latest Marvelous Work

 Anora (2024)

I entered the theater knowing absolutely nothing except that it had won the Palme d'Or at Cannes and that it was the new film by Sean Baker, a director I have already particularly loved for films such as “The Florida Project” and “Red Rocket”. What I found myself in front of, however, is certainly something far from my rosiest and most optimistic predictions.

Yes, because this “Anora” of 2024 is truly something wonderful.

I will not give any spoilers, even though it is difficult to talk about this film without doing so, but I will do my best.

Let's start as usual with the technical side, which in this work of art is absolutely sublime: sensational cinematography, all film, colorful and with truly interesting cosmetic contrasts that catch the eye. A use of anamorphic and wide-angle lenses that help a lot to enter the narrative and above all the mind of the protagonist.

Perfect editing, for a film of almost 2 and a half hours that never bores. There is not a single dead moment and even the slow ones serve to make the viewer "breathe" who otherwise would feel absolutely overwhelmed by what is put in front of him.

Baker's direction is not clean, more: every single camera movement, every zoom, every moment is managed by god and you can see that there is an attention to detail behind every single instant.

There is a moment in particular towards the end, where we find ourselves in front of one of the best long takes and moments of tension of the last few years, truly a good ass job.

The skill of this Author is also noticeable in the direction of the actors: I haven't seen Mikey Madison on the big screen since "Once Upon a Time... in Hollywood" and she had already been very good there, but here I think she really gives the performance of her career, in addition to one of the best interpretations of the year. Surprising from every point of view; I wouldn't be surprised at all to see her take home a nomination this year or even the Oscar itself for her portrayal of Anora (or Ani, as she prefers to be called).

This obviously does not take anything away from the talent of the rest of the cast: Mark Ejdel’štejn absurd (and unbearable), Yurij Borisov excellent as well as Karen Karagulian.

But let's get to the really strong point of the film: the screenplay.

Like every Baker film, this one was also written by him and here the narration reaches truly high levels: a story that starts in one way, with an almost comical linguistic register ends up becoming in the second part an almost depressing tragicomedy where you laugh, but with the most intense bitterness in your mouth that there is. Yes, because halfway through the story the film takes a "strange" turn and where it ends up and how it gets there is anything but predictable.

All this is made even more important by a crazy and necessary metaphor, now more than ever.

There is no lack of inspirations to a style similar to the first PTA films, but they are realized in such a brilliant, original and effective way that it does not disturb at all, but rather, makes the story more complete and fascinating.

And the ending? I will refrain from saying compromising things, however I will say that it is like a punch in the stomach after eating 5 Hamburgers in a row at Mac ... this kind of pungent desolation. 

In short, if it wasn't already clear enough, this "Anora" is incredible and I'm not afraid to say that we are faced with one of the best films of the year (if not the best), so you absolutely have to go and see it (even though it is difficult given that it had a shitty distribution in Italy, like all good films). 

Thanks Sean Baker, you are never satisfied and always give us wonderful works, this time thank you truly from the heart.