Played with incredible subtlety by Yura Borisov, Igor from Anora is not only one of the most magnetic presences in the Palme d’Or-winning film directed by Sean Baker, but he might also be the only man I’d want to date—on-screen or off. As Valentine’s Day approaches and I reflect on modern romance, I find myself irresistibly drawn to Igor, a man who embodies the kind of qualities that feel almost mythical in today’s world.
To put it bluntly: I’ve been done with real-life men for a while. Like many women in a post-#MeToo era, I’ve developed what could only be described as misandry. It’s not a hatred of men so much as a deep disillusionment. The real world—with its emotional unavailability, fragile egos, and often blatant lack of empathy—leaves much to be desired. So, naturally, I’ve turned to fiction, where men like Igor exist. Men who are, frankly, too good to be true.

But let’s talk about why Igor is the kind of man that modern audiences, especially women with similar frustrations, might find appealing. What makes him more interesting than the film’s male lead, Ivan, the wealthy, spoiled heir? And why is Igor, a character with limited screen time, the one who lingers in the mind long after the credits roll?
He seems insignificant at first. You might quickly realize he's not that bad, but a sharper woman—one who sees men (though I’m not one)—can tell from his very first shy 'hi' to Anora that he's something more. He's no minor character; he's a surprise.
On the surface, Igor seems like he’s meant to be a minor antagonist. A goon sent by Ivan’s family to bring Anora, the titular heroine, “back to reality.” But Baker’s genius lies in how he subverts expectations. Igor isn’t the thug Anora assumes he is. He’s a quiet, unassuming man from a broken background who radiates an unshakable sense of calm. While Anora’s fiery personality explodes on screen, Igor balances the chaos with his measured, almost saintly demeanor.
Consider Anora’s initial accusations against Igor: she calls him a drug dealer, a rapist, a violent thug. These aren’t baseless fears—she grew up in an environment where men like Igor did exactly those things. But instead of reacting with anger or defensiveness, Igor quietly denies her claims. “I’m not a rapist,” he said with almost a smirk at the absurdity of it, before explaining that his name, Igor, means “warrior.” It’s a small moment, but it speaks volumes. Igor doesn’t feel the need to prove his worth through aggression or bravado. Instead, he makes his actions do the talking.
So what are the actions?. Throughout the film, Igor has demonstrated an almost otherworldly humanity. From offering Anora a scarf to shield her from the cold to calmly defusing volatile situations, he’s a man who consistently puts empathy above his ego. However, it’s the film’s final act that truly solidifies his place as one of the most compelling characters.
The final car scene—the kiss that never was—is a masterclass in understated emotions. Before returning Anora’s wedding ring, Igor asks her, “Do you like this car?” "No." Anora’s blunt response could have been a blow to anyone’s pride. But Igor replies without bitterness: “It’s my grandmother’s”. He’s a man secure enough to not take offense. He’s also a man who, despite everything he's been through, still has the courage to show tenderness. When he gently holds Anora’s face and leans in for a kiss, her rejection is both heartbreaking and completely understandable. Anora is too scarred, too guarded, to take that leap. However, Igor doesn’t push. He accepts her decision with grace, offering comfort instead of condemnation. In that moment, he’s not just a man. He’s a sanctuary.

Igor’s appeal lies not in grand gestures or declarations of love but in his quiet resilience and unwavering kindness. He’s the antithesis of Ivan, whose wealth and privilege allow him to throw tantrums and evade responsibility. Igor, on the other hand, comes from nothing. He’s a man who has every excuse to be bitter, cruel, or selfish. Yet, he chooses to be good.
It’s this juxtaposition—his goodness emerging from such bleak circumstances—that makes Igor so extraordinary. As the film subtly suggests, it’s easy for the wealthy to play at being kind. Generosity costs them nothing. But for someone like Igor, who has so little, every act of kindness is a sacrifice. In one particularly poignant moment, Igor tells Anora that she represents light. It’s a line that could easily come off as corny or insincere, but Borisov’s delivery makes it feel genuine. You'll believe him. You'll believe that Igor, despite his own hardships, sees something beautiful in Anora—and wants her to see it too.
In an era where many women feel disillusioned with traditional masculinity, characters like Igor offer a refreshing alternative. He’s not toxically masculine, nor is he a performative “feminist ally.” He’s just decent. Stable. Emotionally intelligent. He’s the kind of man who doesn’t see vulnerability as a weakness but as a strength. And let’s be honest—how often do you meet someone like that in real life?
Igor’s character also taps into a deeper, almost primal desire: the need for safety. It is not the physical kind, though that’s certainly part of it, but the emotional aspect. In Igor’s presence, Anora can let her guard down, even if only for a moment. For a woman who’s spent her entire life fighting to survive, that’s no small thing.

Sean Baker’s Anora is, at its core, a film about the harsh realities of life on the margins. It’s a deconstruction of fairy tales, a story that dares to ask what happens when the prince turns out to be a disappointment. But in Igor, Baker gives us a glimmer of hope. He’s not a prince, nor does he pretend to be one. He’s just a man. A flawed, imperfect man who chooses kindness over cruelty, empathy over indifference. And in a world as cynical as ours, that feels like a fairy tale in its own right.
So for the upcoming Valentine’s Day, I’m raising a toast to Igor. To the fictional men who set impossible standards, and to the hope that maybe, just maybe, we can find a little bit trace of Igor in the real world. And if not, at least let us see characters like him in more movies.
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