'Anora': Polaroid-like 'Pretty Woman'

Do you remember the classic romantic film "Pretty Woman" from 1990? It's about a billionaire businessman, played by Richard Gere falling in love with and marrying a prostitute from the red-light district (played by Julia Roberts). It's an affectionate but entirely improbable fairy tale.

Over 30 years have passed, and the story plot of what was once considered a classic is now omnipresent in clichéd "tycoon romance" genre web dramas and even short videos. Seasoned viewers would never believe in the fairy tale of an ugly duckling turning into a swan again, but they still tirelessly revel in similar-themed short dramas. As the adage goes, onlookers see the game better than the players; when such an unrealistic fairy tale befalls upon you, perhaps you would once again believe that anything is possible.

After premiering at the Cannes Film Festival on May 22, the new film "Anora" by American independent filmmaker Sean Baker quickly emerged as the highest-rated film in the official competition, according to its rating on Screen Daily’s Cannes jury grid determined by 12 professional film critics and scholars. With an average score of 3.3, "Anora" took a commanding lead (followed by "The Substance" with 2.7). Of course, reviews of movies screened at film festivals always vary. While some sing the praises of "Anora," there are inevitably others who harbor extreme dislike toward it.

The most common criticism revolves around accusing "Anora" of being nothing more than a clichéd tale about a gold-digger woman and a wealthy heir. Compared to Disney's R-rated masterpiece "Pretty Woman," "Anora" pushes the boundaries much further in terms of nudity and sexual content. After all, it's a story about a stripper, so would you really expect platonic love between the two protagonists?

Baker's previous two works, "The Florida Project" (2017) and "Red Rocket" (2021), both competed in the official competition at the Cannes Film Festival, earning him recognition for his directorship at this high-profile global event. In his latest film "Anora," he maintains his signature dreamlike cinematography reminiscent of Polaroids, a comfortable pace that easily draws audiences in, and a daily conversational style of dialogue. Even for male viewers who may not frequent strip clubs or have never been to one at all, the film feels like a journey with an old friend into the world of adult entertainment—a seemingly chaotic yet orderly place waiting to be explored.

The film portrays the male protagonist as an idle scion of an affluent Russian family, Ivan (Mark Eidelstein), who lives in a mansion purchased by his parents on the outskirts of New York City. He freely splurges on his credit cards with no spending limit and invites friends to stick hundred-dollar bills on the panties of strippers. This setup may quickly fulfill the audience's stereotypical image of Russian oligarchs. After all, whether in spy thrillers or political dramas, portraying Russians in a negative light seems to be the prevailing unannounced principle in both Hollywood and independent filmmaking.

However, besides his extravagant spending, the well-to-do young heir in "Anora" isn't actually a bad person. His relationship with the female lead, Ani (Mikey Madison), naturally transitions from a transaction to genuine affection. They impulsively embark on a trip and register their marriage in Las Vegas; a city in the world where couples can obtain their marriage certificates the fastest.

Given that Baker is someone who refuses to believe in fairy tales, and "Anora" is an independent film directed by him, one can imagine the direction the story takes. He makes Ivan's parents in Moscow invalidate their prodigal son's marriage, leading to a series of intense quarrels. Rather than resorting to the portrayal of Russian mafia common in American films, Baker goes all out to create scenes of the two lovebirds being separated and them making hasty escapes, all within a legitimate and reasonable framework. By the end of the film, there's an unexpected, beautiful twist that I won't spoil here. In short, Baker, adept at bringing reality to life and injecting his works vibrancy, effortlessly transforms into the contemplative Aki Kaurismäki.

In fact, from the very beginning of the film, viewers understand that there's no such thing as a fairy tale about a rags-to-riches transformation, whether in New York or Moscow. Moreover, "Anora" is shown at the Cannes Film Festival, where cinephiles gather, not a community cultural screening for mere amusement.