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Freeman Cebu Entertainment

Oscar-nominated Mikey Madison dazzles as ‘Anora’ with mixed results

MOVIE REVIEW - Januar Junior Aguja - The Freeman

CEBU, Philippines — While her name is the title of the movie, Anora would rather be called by her nickname Ani and she couldn’t care less that it’s Russian for the word ‘honor.’

Ani, played by Mikey Madison, is a 23-year-old stripper in New York who lives in a man’s world. When the job is done, she doesn’t exactly roll in luxury. Instead, she heads home to sleep, waiting to repeat the routine the next day. At home, her sister complains that Ani didn’t buy milk on her way back.

Ani is not a sex worker, but she makes an exception for a 21-year-old Russian patron named Vanya (Mark Eydelshteyn), who wants to take their dynamic outside the strip club.

Luckily for Vanya, Ani likes him. Whether it’s the money from his wealthy Russian father (Aleksei Serebryakov) or his goofy personality that teases and complements Ani’s limited Russian, there’s something about him that she finds appealing.

At this point, Ani and Vanya are in the honeymoon phase. The film earns its R-18 rating due to the amount of sex scenes and nudity, but it’s explicit without being excessive. These scenes are brief and meant to highlight how much the two are affectionate toward each other.

Outside of bed, Ani and Vanya genuinely enjoy each other’s company, talking about their contrasting Russian backgrounds and spending time with Vanya’s friends.

However, for Vanya, the honeymoon phase can’t last long. He is in the United States to study, but he is expected to return to Russia and work for his father’s company. Not wanting to go back, he proposes marriage to Ani, who is an American. She hesitates at first but, being smitten with Vanya, agrees to a shotgun wedding in Vegas.

All seems well. Ani no longer has to work as a stripper, and she’s married to the son of a Russian oligarch. She’s living the life. What could go wrong?

The issue is that Vanya’s parents in Russia disapprove of the marriage and sends his Armenian godfather, Toros (Karren Karagulian), to annul it.

The film picks up in its second act, becoming a wild goose chase as Vanya runs away after Toros and his henchmen, Garnick and Igory (Vache Tovmasyan and Yura Borisov), arrive to end the marriage.

Ani is left to deal with them alone as they try to convince her she doesn’t really love Vanya and that he is too immature for marriage. She joins them solely to find her husband.

This section is the best part of the film, using ironic and dark comedy to highlight the absurdity of the situation and Ani’s reactions to it, using Russian stereotypes to great comedic effect.

The film’s cinematography, shot on Kodak film, adds to its charm, emulating the aesthetic of older New York crime dramas. While not a crime story, the visual style creates a sense of unpredictability that puts the audience on the same footing as the characters in their search for Vanya.

Near the end, Ani takes off her rose-colored glasses, realizing the trouble from their impulsive union wasn’t worth it. As it ties up loose ends, it shows who Ani is after the chaos she had to endure.

Interpretations of Ani’s character vary, but my takeaway of her is this: Ani is so accustomed to objectification as part of her job that any man who shows her basic decency feels worthy of reward.

This mindset could stem from her work as a stripper. She performs lap dances for patrons, receiving money in return. It’s a transactional relationship, and this need to reciprocate kindness explains why she agreed to Vanya’s impulsive proposal because he treated her well, at least most of the time.

From an objective standpoint, “Anora” has an effective script by Sean Barker that presents its themes and wraps them up in a nice bow. But one crucial issue holds it back from being truly exceptional. We never fully get to know Ani outside her work. Tidbits are provided: her mother lives in Florida with another man, likely not Ani’s biological father; she was raised by her Russian-speaking grandmother which explains why she can understand the language; and she’s distant from her sister. But these details aren’t explored deeply enough to flesh out her character.

The film’s revelations about Ani are almost entirely tied to her job, which is disappointing in a cinematic era of complex, nuanced female characters. Ani deserved a more definitive character arc rather than relying on audience interpretations of who she is.

Madison’s performance, however, prevents Ani from being one-dimensional. It’s clear that she cared about the role, bringing energy and depth which make Ani captivating to watch. Her Oscar nomination for Best Actress this year is well-deserved.

In addition to its Best Picture nomination, “Anora” won the Palme d’Or at last year’s Cannes Film Festival. While the critical acclaim is understandable, it’s surprising how cinephiles and film critics truly love this movie, with a Criterion Collection release already announced even if it’s still showing in cinemas.

As of writing, “Anora” holds a 93% rating on Rotten Tomatoes, with scores of 7.8/10 on IMDb and 4/5 stars on Letterboxd. Still, the film isn’t without criticism. Many on social media share my sentiment that Ani could have been more fully realized as a character.

However, I am far from the film’s harshest critic. I cringe at those who dismiss it entirely and judge those who liked it because its merits are undeniable.

“Anora” is worth watching for Madison’s exceptional performance and the hilarity of its second act. However, I can’t help but wish more for a character who deserves stronger development. Three and a half stars out of four. — (FREEMAN)

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