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Anora starts as a Cinderella tale that turns into chaotic screwball comedy, only to end with a dark, sobering twist. This shift may catch audiences off guard, yet in a film that constantly subverts expectations, it’s the only ending that feels true.
The story follows Ani (Mikey Madison), a sharp-witted sex worker, who meets Vanya (Mark Eydelshteyn), the immature son of a wealthy Russian oligarch. Their Pretty Woman-style arrangement quickly spirals into an impulsive Vegas wedding. However, when Vanya’s family, led by Toros (Karren Karagulian), intervenes, the fairytale turns farcical, evoking echoes of Eastern Promises as bumbling henchmen enter the scene. Igor (Yura Borisov), described by director Sean Baker as “the Ryan Gosling of Russia,” emerges as a gentle yet conflicted figure, who begins to care for Ani despite being tasked with detaining her.
Igor’s growing fondness for Ani introduces an unexpected dynamic, particularly when he returns her engagement ring amidst a snowfall. In a poignant moment, Ani’s tough exterior collapses, showing the emotional toll of her dashed dreams. The film maintains its commitment to Ani’s story, avoiding clichés that might portray her profession as a burden she’s eager to escape. Baker instead destigmatizes her work, presenting Ani as savvy and spirited rather than seedy or downtrodden.
The arrival of Vanya’s domineering mother shifts the narrative once more, bringing Ani’s financial hopes crashing down. It’s a subtle but sharp commentary on the illusion of American opportunity, highlighting a world that offers Ani little chance to break free from her circumstances. In another film, Ani might triumph over her adversities, but Anora opts for an open-ended, melancholy conclusion. The emotional impact of this ending lingers, inviting us into Ani’s world of crushed aspirations without offering an easy resolution.
For a film that keeps its audience guessing, this unresolved ending feels right, offering a glimpse into the deeper heartache behind Ani’s journey and her enduring resilience in the face of it.
