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Anora recently cleaned up at this year's Oscars, winning five awards, including Best Picture. The movie follows an enterprising sex worker who links up with a very rich and very immature young man. And very quickly, their transactional encounter turns into more, as in a quickie Vegas wedding.
But there's one pretty big problem. Her new in-laws are Russian oligarchs, and they are livid, and they'll do everything in their power to put an end to this whirlwind romance. Nora is now streaming on Hulu, so now's your time to catch up with the movie if you missed it in theaters. I'm Glenn Weldon. And I'm Ayesha Harris. And today in this encore episode of NPR's Pop Culture Happy Hour, we're talking about Anora.
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So Anora stars Mikey Madison as Annie, a dancer at a New York City nightclub. You might recognize Madison from her role as the eldest daughter on the excellent TV show Better Things. Now, one evening, Annie's boss introduces her to an impish, immature dude named Ivan, a.k.a. Vanya. He's played by Mark Edelstein. And Ivan is the spoiled son of...
oligarchs, living a carefree bachelor life in one of his parents' mansions while they're home in Russia. I can speak Russian. I just prefer not to. But you can go ahead and speak Russian. I'll understand. Oh, these accents. These accents. Okay.
So he asked Annie to be his paid girlfriend for a week. They fly to Vegas on a private jet with his friends. And then they also decide on a whim to get hitched while there. Because, of course. The news quickly gets back to Ivan's parents, who send his three handlers. to have the marriage annulled. They're played by Karin Karagoulian, Yura Borisov, and Vache Tovmassien. To say the least, Annie and Vanya don't make it easy for these guys to do their job.
Chaos ensues. Anora is the latest feature from writer and director Sean Baker, whose previous movies include Tangerine and The Florida Project. So, Monica, I'm going to start with you. I have a sense, a feeling that you are into this film. Tell us a little bit more about what you thought.
I so enjoyed Sean Baker's new movie. I think he's building on what we've seen before. He's using the kinetic energy of Tangerine, pulling on the heartstrings like he did in The Florida Project, and continuing his sort of quest to... create complicated movies for adult audiences. Anora feels like a Cinderella screwball comedy with a little mix of after hours set in Brighton Beach. It zigs when you expect it to zag. It's so funny. It's tender.
It's an impressive ensemble piece where every character, both lead and supporting, brings something to the table. I loved Baker's editing, script. I loved Drew Daniels' cinematography, Mikey Madison's performance. I really can't say enough good things about Mikey Madison. performance yes it's a zany wild ride and i i enjoyed every minute of it zany wild ride perfect descriptor love it uh
Glenn, how about you? Did you enjoy the zaniness, the wildness, all of that? Yeah, I really did. I really liked this film. I wasn't necessarily set for a zany wild ride, though. I didn't know what this film was doing until about halfway into it. Because you keep thinking this movie is going to take a darker and more violent... But its choice is to paint these Russian and Armenian handlers as kind of hapless, sad sack lunks.
And that's a choice I didn't trust at first. I kept thinking, what's going to happen though? The shoe's going to drop. But spoiler alert, if you haven't seen this film yet, you can trust it. I mean, they're not quite like raising Arizona bad guys, but they're in the same ballpark. This movie does eventually go to.
a very dark emotional place in its final scene, which we can't really talk about. But up to that, it's exactly what Monica said. It's weirdly close to slapstick. It's an up all night comedy. But then I remembered, this is kind of what this guy does, right? Tangerine, Red Rocket, Florida Price. I think we've been conditioned by genre films about or including sex workers and the organized crime to anticipate a certain level of violence or big changes that change everything forever.
But those films are genre exercises, and this one isn't. This isn't a crime thriller. It's a story that attempts to put us in the head of someone. who's just trying to get by. So I had a good time watching it the first time, and I bet I enjoyed even more when I can watch it again, knowing that no one's going to get their head blown off. You know what I mean? Yes. This had big, like, does the dog die energy? Does anything really, really bad happen?
And no, I don't think that's necessarily a spoiler to say, but I had the exact same reaction as you, Glenn. The fact that there is violence, but the violence is mostly comedic and... If I am remembering correctly, I don't think we ever see a single gun pulled out, which I was just waiting for that because, as you said, we're conditioned to think that, I mean, especially a movie involving a sex worker, but also just anything involved in Russia.
It's like, of course there's going to be guns and whatnot. And what I really appreciated about this film is that underneath it all, it is... A sort of rom-com. You know, most of them end once you link up together, you get married. Of course, this is not what happens. The marriage happens in the middle of the film. And then afterwards, it's the slow unraveling. To me, I liken this movie.
to Sabrina Carpenter's short and sweet album, but dramatized. Specifically, the song Lie to Girls. And the line is, you don't have to lie to girls. If they like you, they'll just lie to themselves. And I feel as though the Annie character is Serena Carpenter, realizing that this guy that she married on a whim, who she at first thought was like, oh, yeah, we'll just have some fun. I'll get a lot of money out of this. And then slowly like realizes.
oh man, this isn't what I thought it was going to be. Like, what are my dreams? What are my hopes? And when you look at it as that, I think it's just a really fascinating, subversive way to think about relationships.
You don't have to be a sex worker to be able to like sort of identify with being, you know, a 20 something year old person who's maybe falling in love for the first time and then having all of their hopes dashed in the worst way possible. Falling in love with the wrong person is probably.
Probably a high mark of a lot of people's 20s. Right, absolutely. Exactly. I mean, what do you think? Well, let's talk about these performances because I think it's just so well cast. Obviously, Mikey Madison. But also, let's be real. The character of Ivan, I wrote in my notes. oh my God, this kid is so annoying. He is so annoying. He's so perfectly cast. Like, what do we think of him and just the way that Mark Edelstein is playing this character? I mean, he really matched.
if not superseded her energy with just how goofy he is. I think about the moment where, you know, she meets up with him for the first time at his mansion, which is already... super ridiculous she's like well shall we you know get to it and he's like oh yeah and he immediately strips and then does a backflip into the bed who does that wait what is going on and it is just so funny and so out of pocket he's sort of
So I totally understood why Annie would fall or catch feelings for a guy who's so different than many of the men that she comes in contact with. Yeah. I mean, throughout this film, people keep... Yeah. Everyone around them assumes that her motives are purely financial. And the work that this film is doing is showing that Ivan is so goofy that she could convince herself she's in love with him and he with her. And just the way that when you are.
that age you just kind of dismiss it and you're like oh I mean yeah he likes his video games maybe a little too much but It's okay. Like, he still loves me. Ivan, for all of his being a... I think he says at one point he might be in his early 20s. Yeah, 21, I think. Also just constantly vaping and always playing video games. It's like... Not paying attention to her until... Oh, now...
Right, right. He's a man-child, basically. But he's never really the villain either. Neither are really, I mean... Obviously, the henchmen, to some extent, they're kind of like three stooges in a way. But none of it feels too, too dangerous. And I like that about it. I also think Mikey Madison as Annie is... She is doing the accent work, and I can feel as though if this was a different kind of movie, it would feel too broad.
But it worked for me. Did it work for you? I kind of understood it as like I felt it more when she was performing in her job space where, you know, she's trying to. sound welcoming or you know talk to guys to get them to come to the ATM to get extra cash you know it felt heavier more emphasized in those moments whereas like when she's with her sister I think is her roommate it's a little bit
more low-key and less like noticeable. I really loved her performance. I loved how bold she is. I love how strong her character is. You know, Jimmy, the girls and I have been talking and if your cousin... doesn't start showing us some respect, we're not going to tip out anymore. All right, I'll talk to him.
I love that she can also still get vulnerable and, you know, get really hurt in this process. Mikey's given such a range in this role to perform and she knocks it out of the park in every single beat. Yeah. And she is bitterly disappointed in this. film, but a cheaper or a pulpier or a more, I guess, genre inflected version of this movie would give her an arc that has a note of triumph in it. You know, if it was a rom-com, she'd get the guy and then have to deal with...
being with that guy. But in a different kind of movie, she would show everyone that she did it for love or that she kept some kind of agency or she gets the upper hand somehow. That's not what this film is. This film is not Pretty Woman. It's dark. And I like that this film has the courage of its convictions to kind of stay there on her and not give the audience a kind of cheap uplift at the end. Yeah. You know what it reminded me of, actually, is more like Knights of Kabiria. which in turn
inspired Sweet Charity, the Broadway musical, about a sex worker who is like very optimistic. And that's what Annie is to some extent. You could say, depending on how you feel about these things, it's either you're very optimistic or you are naive. But like, whatever it is, there's heart at the root of this character. And it doesn't sort of sugarcoat how much.
Her character is hurt. There's a lot of levity here. And, you know, I did actually rewatch Tangerine and Red Rocket after seeing this and then saw for the first time Starlet, a movie that Sean Baker did earlier before all of those where, again, this. is set in the world of pornography, Starlit is. And it's just kind of in the background. And again...
He has built this track record of really just focusing on these worlds as if they're just another workplace area, just another part of life. After I watched Enora, I felt a little... on the fence about how I felt the way it treated this and was it too light in certain places? Did it not feel real?
But then I caught myself and was just like, well, you know what? We have so many stories where these types of things end up very, very depressing. And maybe it's a fantasy, but maybe also it's a little bit truer to what. A lot of people in this work experience day to day. It's not all doom and gloom. And I don't know. That's something I'd be really happy about, I think. Right. I guess my only caveat.
is that I felt it was a little too long. Oh, I did not have that problem. If anything, I was riveted because, I mean, throughout the film, this is very clearly like... Also dealing with issues of class and different immigration generations, all the comments about Annie's Russian and whether or not she fits in and trying to be accepted by people from back home is a whole huge.
huge conversation that's just like mixed in. And that really comes into the foreground when the parents show up. And one of the first things that the mother says to her is, and you're Russian, it's terrible. You know, I really did enjoy that. power struggle because there are moments where you think it's going to go in one direction and then baker does like a fake out and then
takes it somewhere else. And so that's where, you know, for me, I was still on the edge of my seat wondering where was this going to go? Is there an end? Where is it happening? Yeah, that's always going to be a judgment call when it comes to the length of it because, I mean, I wanted to hang out with these characters.
I mean, I was happy hanging out with these folks. But man, when you were talking about is this film too light given its subject matter, that is something that really resonated with me because, you know, Sean Baker is on record saying sex work should be decriminalized. And his work attempts to show sex workers as people, real people, who are deserving of being afforded the same dignity and respect and consideration and protections that other people get. And that's great. But.
This film does not land in theaters right now in a vacuum. This film lands now when sex trafficking is in the news, whether it's the ditty accusations and a lot of Christian anti-trafficking films like Sound of Freedom. Yes. I spent some of my time in the theater wondering how this film is going to land in this landscape, if people are going to try to use it to score political points. Because as you say, it does show a Nora.
making her own choices. They're often bad choices, but she's the one making them. She's not drugged and used. She isn't trafficked. She's working and we aren't, I don't think meant to pity her. I don't think we're meant to see her as someone who needs rescuing.
She's doing what she can to get by. The last thing I wanted from this film after two hours plus of it was for it to adopt some kind of moral judgment, which it didn't have in the preceding time. Does that make sense? Oh, yeah. Absolutely. I love that point about... just how this lands in the era that we are in currently. It is...
the type of thing that I can see people using as a political tool. And I think that what I appreciate about this the most is the fact that, again, this just feels like human There is no judgment other than that comes from his family and the henchmen. The other thing is that like the henchmen and the family aren't wrong. We should say all of this.
occurs over the course of like a week and a half like maybe two weeks so it is a very a very short time period of course it was not smart of them to to get married after knowing each other a week like what are we doing here So they've also got a point. But at the heart of this, again, this is a story just about like two crazy kids falling in love, I guess, and then doing something stupid and having to face the repercussions of it.
Do we have any final thoughts or anything we wanted to add? Anyone we haven't talked about? Monica, I'm curious if you had anything. I just wanted to sort of appreciate the setting itself, the choice of Brighton Beach and the community of like little Odessa. as a part of New York that doesn't often get to be seen outside of like James Gray movies in the occasional documentary. Yeah. It's like such a fun.
little playground that it becomes, especially that's the sort of like after hour-esque moment where they're going from venue to venue to venue in search of Vanya. It's so fun. It was really lovely to see that part of New York off the beaten path, off of the tourist recommendation.
And they even stop at Tatiana's, which is one of the main restaurants right there on the boardwalk. Nice to see that the full Coney Island Brighton Beach boardwalk was featured. Yeah. And not in the summer, in the winter when it's like pretty desolate. Yeah. And they include all these little like cultural like.
Wink, winks and nods to what's going on in that area, too. Like even the polar bear swimmers, there's a person who goes out and swims in January. Like that is a thing that happens. I love those. I love those little nods. And I love that he included so much of that spirit. Well.
This is definitely a talker. This is the type of movie that you will have a lot of thoughts on. So find us at Facebook.com slash BCHH. And that brings us to the end of our show. Glenn Weldon, Monica Castillo, thanks so much for being here. Thank you. Thank you.
was produced by Liz Metzger and edited by Mike Katziff. Our supervising producer is Jessica Reedy, and Hello, Come In provides our theme music. Thanks so much for listening to Pop Culture Happy Hour from NPR. I'm Ayesha Harris, and we'll see you all tomorrow.
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