Readers should be aware at the outset that the following column contains many plot spoilers in comments on the Oscar-winning movie Anora.
The fact is that the film’s winning of the Oscar for Best Film of the Year came as something of a surprise to me, despite its receiving plaudits at the Cannes Film Festival. I had fully expected that the award would go to either Conclave or Wicked, though my own choice would have been Sing Sing. However, my failure to predict the winner was par for the course, but, intrigued, I decided to watch Anora on Prime Video. I can only say that I do not share in the Academy’s enthusiasm.
The film tells the story of a so-called “exotic dancer” who agrees to engage in a week’s sexual activity for a tempting sum of money. Thus, for much of the first third of the film, the viewer is “entertained” by what amounts to pornography as the title character spends the week fulfilling her bargain with the spoiled brat Igor, the son of wealthy Russian parents.
Since he is clearly more interested in playing video games than conversing with Anora, the warning signs should be clear to her, but despite that, she agrees to fly to Las Vegas and get married.
The rest of the film is concerned with Igor’s parents, determined to get the marriage annulled, while Anora, unbelievably naïve, thinks she can remain Igor’s wife. Thus, there follows much interaction that includes lots of violence, yelling, and conflict between Anora, hired goons, the parents, and shady lawyers. It is also relevant to point out that if the repetition of a particular vulgarism were omitted from the dialogue, the film would probably be 30 minutes shorter!
Throughout all of this, the protagonist moves from what is meant (unconvincingly in the light of her profession) to be a loss of naïve innocence to a state of personal assertion. It is a journey that is by turns disturbing, farcical, even occasionally comical, but in the end, decidedly contentious. I did not enjoy the experience.
In all fairness, I do recognize that the film has cinematic merit. The film is well directed by Sean Baker, and Mikey Madison delivers a brave performance as Anora. Many may enjoy the film for its energy, while others will hail it as a great feminist statement. I cannot share in their enthusiasm.
All of this raises the question as to whether it is valid to dismiss a film simply because one does not enjoy either its subject matter or its approach to that content.
In regard to the content, to some extent, the Oscar recognition should come as no surprise. A recent online article pointed out that no fewer than 13 Best Performance Oscars have been awarded to women portraying prostitutes, while the number of Best Picture Oscars involving violence is probably larger. Whatever one may wish, clearly, one cannot expect every Oscar to go to a film like The Sound of Music or Mary Poppins. Nor should one want to. However, we all have the right to choose our own entertainment.
So it is that I have broken the golden rule of film critics by revealing far more of the plot than is usually allowed. I felt it important to review Anora in the light of the recognition it has been given. Having done my duty as a critic, I now, simply as an ordinary filmgoer, just want potential viewers to know what to expect, while at the same time recognizing that, unlike me, many may find the experience enjoyable. In the end, it all comes down to “matters of taste, etc.”!
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