Oscars 2025: "Anora" review

Graphic by Caitlin Orsino

“Anora” is one of those films that leaves you with a swirl of emotions. From the first shot to the credits, I was utterly invested in this beautifully crafted tale. 

The story centers on Anora, mostly called Ani (Mikey Madison), a stripper in New York City who is specifically requested at the club by Ivan, nicknamed Vanya (Mark Eydelshteyn), a young, wealthy Russian man who is vacationing in his mansion in America. 

The two hit it off, and Vanya spoils Ani with expensive gifts and extravagant trips to five-star resorts. During a trip to Las Vegas, Ani and Vanya decide to get married so Vanya could get his green card and avoid his wealthy parents. Upon returning to Vanya’s mansion in New York, Vanya’s godfather, Toros (Karren Karagulian), who was supposed to be keeping an eye on him, gets an angry call from Vanya’s parents demanding he make Vanya annul the marriage. 

Toros and his henchmen, Igor (Yura Borisov) and Garnik (Vache Tovmasyan), arrive at the mansion and demand the couple come with them to the courthouse. Vanya escapes, leaving Ani alone with the three men. Ani, confused by their intrusion, fights them and demands they leave. After a brief struggle, Toros explains the situation and asks Ani to help them find Vanya. Reluctantly, she agrees, and the four of them search New York City until they finally find him at Anora’s old strip club. 

Toros brings everyone to the courthouse, however, when they are seen by the judge, their lawyers reveal that since they were married in Las Vegas, they must travel to Nevada to annul the marriage. On the way to the airport, Ani tries to tell Vanya that he needs to stand up to his parents, but he does not speak to her. A few hours later, Vanya’s parents arrive to take everyone to Las Vegas. 

Ani tries to be polite to Vanya’s mother, Galina (Darya Ekamasova), but she belittles and insults and demands she get on the plane. Vanya finally explains to Ani that there is nothing they can do, and marrying her was a mistake. On the trip back to Las Vegas, Ani sits, silently hurting. Igor attempts to comfort her, but Ani does not engage with him. The group lands, the marriage is annulled, and Vanya’s father gives Ani money for her troubles and allows her to stay in the New York mansion for one more night. 

Igor accompanies Ani back home and watches TV together before going to sleep in separate rooms. The next morning, Igor drives Ani back to her house, but before he leaves, they share an intimate moment that ends with Ani breaking down after the heartbreaking journey she just endured. 

The plot of “Anora” is creative and engaging, though I do wish there had been more exposition on Vanya’s family. It would have added more depth to his character and given greater context to his motivations. That being said, this is just a minor nitpick in an otherwise well-structured film. The pacing is excellent, allowing enough time to develop Anora and Vanya’s relationship before everything inevitably spirals out of control. 

One of the film’s standout elements is its cinematography. The visual style felt distinct and immersive, especially in the first 25 minutes, which followed Ani’s day-to-day life in a way that almost resembled a "day in the life" vlog. These early scenes establish her world and routine, making the later events feel all the more impactful. 

Beyond that, I really appreciated how the editing style reflected Ani and Vanya’s relationship. At the beginning, the fast-paced cuts mirror the whirlwind nature of their romance—how quickly they move from meeting to marriage. However, once Toros arrives, the pacing slows dramatically. His presence introduces an unavoidable sense of reality, driving a wedge between Ani and Vanya, and the film’s editing smartly reinforces this tonal shift. Director Sean Baker deserves immense credit for not only writing and directing Anora, but also editing it himself. 

I always find it fascinating to see how male directors choose to portray female protagonists, and Baker does an excellent job developing Ani’s complexity. That being said, certain graphic scenes with Vanya were clearly shot through the male gaze, whereas the scenes with Igor felt more intimate and female-centered. This contrast was noticeable and perhaps unintentional, but it did stand out to me. 

Mikey Madison delivers an absolutely spectacular performance as Anora. Her dedication to the role is undeniable—she completely disappears into the character, capturing Ani’s emotional depth with authenticity. Also, can we take a moment to acknowledge how strong you have to be to pole dance, let alone make it look effortless? 

While I don’t necessarily equate nudity with dedication—since the industry often pressures actresses into it—Madison’s commitment to every aspect of the role is undeniable. Because of that, she’s my top pick for Best Actress this year. I often struggle to sit through movies that exceed the 90-minute mark, but “Anora” is a rare case where I genuinely wanted more. It’s a film that lingers in your mind long after the credits roll.