The "Anora" Enigma: An Oscar Victory I Still Don’t Quite Grasp
Sometimes, the Academy Awards align with my cinematic sensibilities, rewarding films that resonate deeply and feel undeniably deserving. Other times, well, there’s an "Anora." Sean Baker’s independent romantic dramedy, a film I found pleasant but ultimately lightweight, surprisingly swept the 97th Academy Awards, snagging five honors, including the coveted Best Picture and Best Actress for Mikey Madison.
The film’s journey to Oscar glory wasn’t entirely unexpected. Ever since it captured the prestigious Palme d’Or at Cannes Film Festival last year, and subsequently became a darling of film critics throughout the fall festival circuit, the chattering classes began touting "Anora" as a serious Oscar contender. Even amidst a few unexpected snubs at the Screen Actors Guild Awards and the British Academy Film Awards, "Anora" ultimately overcame all obstacles and seized the ultimate prize.
And yet, I find myself scratching my head, still struggling to comprehend the magnitude of its victory. Had I been an Oscar voter, "Anora" would have likely landed in the lower half of my preferential ballot, perhaps around ninth out of ten. (And please, no offense intended towards the cinematic spectacle of "Wicked.") It was a good movie, no doubt, offering moments of genuine charm and emotional resonance. However, it felt considerably less substantial when weighed against the dramatic weight of the papal thriller "Conclave," the sweeping grandeur of the historical epic "The Brutalist," the electrifying energy of the music biopic "A Complete Unknown," or the refreshing originality of "Nickel Boys."
In fact, I can pinpoint the precise moment when I first questioned the overwhelming praise being heaped upon "Anora": during its opening twenty minutes, a sequence dominated by nudity and strip-club scenes. For those unfamiliar with this R-rated affair, it centers on Ani, a brassy Brooklyn exotic dancer played by the remarkable Mikey Madison. Ani, due to her proficiency in Russian, finds herself tasked with entertaining Vanya, the spoiled son of a powerful Russian oligarch.
Despite the obvious mismatch in character and maturity – Vanya being a quintessential man-child and Ani deserving far better – he showers her with lavish gifts and pays her for her company, which inevitably translates to sexual intimacy. Their whirlwind romance culminates in a spontaneous elopement during a wild trip to Las Vegas. Upon returning to Vanya’s opulent Brighton Beach mansion, chaos ensues as Vanya’s disapproving parents arrive from Russia, unleashing a series of increasingly absurd events. Goons, including the unexpectedly kind-hearted Igor, played with surprising depth by Yura Borisov, are dispatched to keep Ani in check when Vanya, overwhelmed by the situation, abandons his new wife.
The film transforms from a Gen Z reimagining of "Pretty Woman" into a screwball comedy adventure through the chaotic streets of Manhattan as Ani desperately tries to locate her vanished groom. It is in the film’s final act that "Anora" begins to earn its Oscar-worthy stripes. Ani clashes with Vanya’s formidable mother, and the audience starts to grapple with the unsettling possibility that this modern-day Cinderella story might not have a happy ending. A particularly poignant scene between Igor and Ani, where she yearns for genuine emotional connection instead of transactional sexual encounters, elevates the film and leaves a lasting impression.
Here’s the crux of my reservations: while Yura Borisov delivers the film’s most compelling performance, imbuing his supporting character with surprising nuance and magnetic energy, does his performance alone justify a Best Picture victory? And what about Mikey Madison? She is undeniably good, capturing Ani’s vulnerability and resilience with remarkable skill, but is her performance truly transformative, on par with, say, Demi Moore’s unhinged brilliance in "The Substance"?
At the same time, "Anora" is, in many ways, a reflection of the positive changes occurring within the Academy in recent years. Traditional, predictable Oscar bait, the likes of "Conclave" and "The Brutalist," and even last year’s behemoth, "Oppenheimer," will always be present on Academy Awards night. But ever since the groundbreaking upset of "Moonlight" over "La La Land" in 2017, more niche, unconventional winners like "Everything Everywhere All at Once," "Parasite," "CODA," and "Nomadland" have thankfully become the norm rather than the exception. This trend highlights the increasing internationalization and diversification of the Academy voting body, a welcome departure from the days of #OscarsSoWhite.
However, has the Academy evolved to the point of honoring a film as audacious and challenging as "The Substance," a body-horror flick with profound thematic weight, exploring themes of aging in Hollywood and the corrosive impact of societal obsession with superficiality? The answer, regrettably, is no. Such a victory would be truly groundbreaking. (It’s not lost on anyone with a keen eye that Oscar night essentially mirrored the narrative of "The Substance," with an older actress losing out to a younger, more conventionally appealing model.)
Despite the strides made in recent years, Oscar is, ultimately, still Oscar. We’re inevitably going to encounter the occasional "Crash" or "Green Book," and in that context, "Anora" is arguably a far more progressive and thoughtful choice. All we can do is continue to champion the films we love, to root for our personal favorites to maybe, just maybe, snag a statue at the end of the night, and to resist becoming overly disillusioned when they inevitably fall short. As the saying goes, don’t go to bed angry, which, admittedly, I somewhat did. But I’m feeling more sanguine now. If the rise of "Anora" ultimately paves the way for a film like "The Substance" to one day stand triumphant on the Oscar stage when the credits roll, then the occasional head-scratching victory is ultimately bearable.
