Courtesy of Neon

Spoilers ahead!

Director Sean Baker’s filmography is nothing short of incredible. Each one of his films champion the working class, shining a light on sex work in particular. His breakthrough feature “Tangerine” and 2017’s highly acclaimed “The Florida Project” both center around eccentric yet formidable characters.

Baker’s latest project, the Palme d’Or-winning “Anora,” is no exception. Set on the streets of Brooklyn and short stints in Las Vegas, Baker weaves screwball comedy and high-stakes drama into a captivating story of a young woman striving to rise above her circumstances.

The story follows sex worker Ani (played by Mikey Madison) in her life between the club she performs at and the underneath of an overhead train where she and her roommate share a modest apartment. Her life, once marked by routine, takes a dramatic turn when she hits it off with a mysteriously wealthy client. Ivan (played by Mark Eidelstein), a 21-year-old son of a Russian oligarch wanders into the club on a fateful night. Since Ani is the only worker with some Russian proficiency, her manager rushes to bring the two together. A childish but charming kid, Ivan quickly becomes Ani’s most affluent and intriguing patron. He starts inviting Ani over to his impressive Brooklyn mansion, all the while providing a generous amount of monetary compensation.

Inevitably, the line between client and partner starts to blur. What starts as a transactionary exchange of money and sex snowballs into Ivan promising Ani $15,000 in cash to be his girlfriend for the week. Although Ani does not consider their relationship as anything more than a one-time affair, she accepts on his insistence that his love is genuine. At the end of their escapade, they elope to Vegas to get married — a potentially life-changing prospect for Ani.

However, the two remain part of completely different realities. Scenes of their whirlwind romance are drenched in luxury: private jets and Las Vegas suites to silk sheets and fur coats set in stark contrast to Ani’s life she left behind. It’s an invitation into a separate, euphoric world, an outstretched hand offering hope for this unlikely union. Their relationship constantly shifts in meaning, beginning as a hedonistic escape but never quite reaching genuine intimacy. Yet Ani is always a separate, defiant entity even in the midst of chaos.

The illusion of a new beginning crumbles when Ivan’s family intervenes. Under pressure from his parents and the family’s hired goons, he flees in a moment of panic. What starts off as a lighthearted romance leaves Ani stranded, dazed and confused.

Baker’s decision to remove Ivan from the central plot is a bold but necessary choice, immersing the viewer in Ani’s sudden disorientation and vulnerability. At times, his naive and brazen personality is missed, but Ivan’s absence is compensated with an equally hilarious supporting cast. Toros (played by Karren Karagulian), the “leader” of the search party, is accompanied by Garnick (Vache Tovmasyan) and Igor (Yuriy Borisov) as they take Ani through a wild goose chase for the missing Ivan. The authenticity of Madison’s performance shines here, injecting an indescribably hypnotic quality to her character.

Despite this shift, Baker continues to seamlessly blend comedy and drama to keep the narrative grounded. His remarkable balance of such wildly disparate ideas within “Anora” is what makes the film refreshingly unique. The film constantly flips between two worlds, two languages and two forms of currency — sex and money. Ani’s dreams of a better life are constantly thwarted by circumstances beyond her control, contrasting with Ivan’s seemingly boundless but shallow wealth.

At the heart of bringing Ani’s story to life was the challenge of casting the right lead. Baker had always wanted to shoot a film based in Coney Island and was fascinated by the Russian American culture in the area. After 17 years of rough ideas and half-formed storylines, the perfect actress came into focus. Known for her roles in “Scream” and “Once Upon a Time in Hollywood,” Madison’s presence brings the character of Ani to life with a fierce confidence and unapologetic independence.

Anyone familiar with Baker’s previous works knows his excellence in constructing endings. While “Anora” primarily indulges in Ani’s adventures and the absurd hilarity found in it, the final scenes bring a sobering shift. Ani, realizing her fantasy is slipping away, reaches out in desperation and breaks down in a powerful ending that thrusts the viewer back into reality. Baker’s nuanced storytelling keeps the audience clinging to a faint hope, culminating in a finale that’s a quiet, unexpected gut punch.

Madison’s performance walks a delicate line between immunity and vulnerability, embodying a character who is resilient yet painfully aware of her place within a brutally unforgiving world. Yet, at its core, “Anora” is a story about identity — one that is inextricably entwined with Ani’s struggle for autonomy and acceptance within a society that both exploits and judges her. With his trademark sense of empathy and depth, Baker aims to break down preconceived notions about the film’s more risqué elements, forcing viewers to put aside all judgment and instead accept what’s presented before them.

Rating: 9/10