Saturday, March 8, 2025

Sean Baker's ANORA: Mikey Madison carries every piece of the screen and story, with her own flesh, screams and fiesty fists

ANORA = Showgirls x Eastern Promises x Cinderella x Pretty Woman (the gritty Brooklyn edition) x Don Jon x Striptease/Hustlers. Truly, ANORA = 300% Mikey Madison. "Hooker with a heart of gold?" or more fittingly, "Hooker with a heart of fiesty, bloody gold"?
In the first frame, we meet Ani. One to two weeks later, we meet Anora. In the last moment. The climax, anti-climax, that crowns this film and this performance, with all the wins (Palme d'Or 2024, five Oscars, BAFTA, SAG awards). In the first frame, Ani is is masterful, skilled and in control in her professional exctasy, as an exotic strip-dancer in the club "HQ". At the end, Ani is also with her body on another body. Here, she is fully Anora. Surrendered, bruised and with an unbearable feeling for one body to carry. Her body and guts carries the entire film. As the scientists say, "the body keeps the score". All that we see happening, goes through her, in her. She is the one that fires up the erotic energy, she is the one that kicks and screams to defend her newfound life and fever-love, she is the one left with bruises, scratches, scarves and rings. While in all that time, Vanya, the wealthy son of a Russian oligarch, who transforms his American trip into an impulsive elopement with his dreamgirl, he, he takes, comes, and escapes. Was it ever a fairy tale? And if so, for Ani or for Vanya? Was it an escape? For both, surely. The two of them, only 2-years apart in age, Ani/Anora is 23-year old and Vanya/Ivan is 21-year-old, both of Russian origins, yet in such different life battles and life cards delt. "Vanya, talk to me!", how she keeps demanding, asking, fighting to change the reality that is incoming. I can still hear the color of her gutsy voice, days after watching the film.
In the modern world, where every (or most) relationships are transactional, Anora's explicit transactional themes ring loud. Yet, the one relationship that vibrates the most, at the end, is the one with the heart of Anora and heart of Igor.
With the snowfall, the staircase of her Brighton beach home awaiting her, her suitcases carried by Igor, can she bear to go back inside?

The discovery of this poem brings Anora's pep to mind, again and again:
TOOLS

A woman's body has everything in it
to save her life

if you must
use your legs as raft

heel as hammer
teeth as machete

monthly blood as healing salve
milk for building

breasts as shelter
learn to breathe

use your locks to suture every wound
learn to scream

learn to scream
learn to speak

learn to live
within the smallest muscle of your heart


Production and other facts (source: Wikipedia and press): - For the Zakharov mansion, Baker filmed at 2458 National Drive, a Mill Basin mansion once owned by Vasily Anisimov, an oligarch with ties to Russia
- Baker cast Mikey Madison after seeing her in Once Upon a Time in Hollywood (2019) and Scream (2022). He hired Madison without an audition. When you know, you know! Madison learned Russian, visited strip clubs, and studied the Brooklyn accent to prepare.
- Anora was filmed over 37 days, with the 25-minute home invasion scene taking 10 days.
- Anora grossed $43 million worldwide against a $6 million budget, making it Baker's highest-grossing film.
- The name Igor has its origins in the Russian language and is derived from the Old Norse name Ingvarr, meaning Ing's Warrior. Igor connotes: bravery, courage, warrior.
- The name Anora comes from Latin origins and typically means "honor." He also states the English and Hebrew meanings, which include "light" and "grace." In Uzbek, it means pomegranate.
- The search for Vanya scene in "Tatiana Grill" was filmed in real life - by an impromptu film crew entrance into that nights' happenings at the Russian restaurant in Brighton Beach.
- The word fuck is used 479x in the 2h 19mins film.
- "Anora" is not rated NC-17, it is rated R. For example, "Showgirls", "Dreamers", "The Last Tango in Paris" are rated NC-17.

Monday, February 17, 2025

Wednesday, August 21, 2019

Tarantino's Nostalgic, yet Palpably Present, Glamorous Homage to 1969 Hollywood in "Once Upon a Time in Hollywood" (2019)


Nostalgic, original, masterfully stylish, full of Tarantino's talend, well chosen soundtrack and fetishes, with a surprise of de-emphasized violent scenes, except a few and for the final act twist which every viewer (the critic and the lover) cannot forget. An homage to 1969 Hollywood bubble and to cinema of that age, capturing the zeitgeist of that era. Artistic and cinema love intention behind every shot, yet making the scenes gallantly glide through the reel with an ease and glamour. A master who can create cult-ish simplicity out of a complex, deep cinema love. Behind every detail and every choice, an intention and directorial mastery. Yet, so simple and fun, the kind that doesn't last long, and can be as short as a dance, one damn good cocktail and as one movie (Sharon Tate's short-lived movie career analogy) with an undertone of gory brutality brewing underneath.

Friday, April 19, 2019

Friday, February 22, 2019

The Favourite


- battle royale - bizarre and absurd, yet on point and character and plot-sharp at the same time - machiavelian - power struggles - refreshing - original, so that it cannot be easily put in the genre box (period tragicomic drama?) Guardian's on point review.

The Wife


Free Solo


Monday, September 10, 2018

Monday, June 11, 2018

Simon Baker's directorial debut emits the search, discovery and loss and search again for thrilling, extraordinary, soulful rides, teachable moments and bonds in "Breath" (2018)


The narrator tells us about how the ocean and human bravery seduced him, over and over again: "Never had I seen men do something so beautiful, so pointless and elegant, as if dancing on water was the best and brightest thing a man could do.” "Because, finally, this is not a story about surfing; it's a story about fear, about pushing beyond fear, and about becoming addicted to the pushing. Moreover, it's a story about the price of being more than ordinary. Pikelet is forever condemned to be Salieri to Sando's Mozart: just talented enough to know how much more talented the real geniuses are. Greatness, in whatever realm, burns, even if you touch it just for a moment. Thirty years on, a grown Pikelet still judges "every joyous moment, every victory and revelation against those few seconds of living". But, tellingly, he also still surfs, still "does something completely pointless and beautiful, and in this at least he should need no explanation"."
Loving this fresh and soulful film review: "Profound Tim Winton adaptation swirls with soul and beauty", available here And this one: NYT on Breath's "Tasty Waves and Gnomic Truths"