Why Anora’s quietly dark ending hits harder than you expect

As a fan of raw, gritty, and unapologetically real films that refuse to sugarcoat the harsh realities of life, I found Anora to be a captivating masterpiece. The film’s ability to subvert expectations while maintaining an emotional core is nothing short of remarkable.

Anora ending spoilers follow.

Following an unexpected twist where the initial captivating tale of Anora falters into the chaotic humor of its second part, the movie’s enigmatic, somber conclusion appears rather sudden. However, in a film that consistently defies convention, the poignant final scene emerges as the fitting conclusion that aligns with our expectations.

One evening, Anora observes firecracker sex worker Ani (Mikey Madison) encounter her transient husband Vanya (Mark Eydelshteyn), who was a son of a questionable Russian tycoon. Vanya, living a life of luxury thanks to his father’s wealth, spends his days drowning in alcohol and video games like ‘Call of Duty’.

At first, they make an agreement reminiscent of the movie “Pretty Woman,” where they plan to spend a week together. However, this turns into a hasty wedding in Las Vegas during a wild night out. As Vanya’s family learn about the marriage, Toros (portrayed by Karren Karagulian, a longtime collaborator of Baker) and his associates arrive, causing trouble, and what started as a fairytale ends up becoming a comical, chaotic scene similar to David Cronenberg’s “Eastern Promises.

Among the less intelligent thugs who invade Vanya’s childlike mansion is Igor (Yura Borisov, often compared by director Sean Baker to “the Ryan Gosling of Russia”). This timid character, reminiscent of Kronk, develops feelings for Ani while simultaneously keeping her captive through violence.

To begin with, the notion of creating a movie about a wealthy fool whisking off a stripper had never crossed my mind. Instead, I envisioned my next project as a gritty Russian gangster film. However, it was through the eccentric management team of Vanya, reminiscent of the Three Stooges, that this idea gradually took form in my imagination.

Given the genre of films featuring Russian organized crime, it’s anticipated that the storyline of “Anora” might grow more ominous. In this scenario, the harmless character Vanya flees, tugging at his trousers, while Ani bravely confronts Igor and Garnick. In the ensuing battle, she inflicts significant injury on Garnick’s nose area. (Vache Tovmasyan)

As the tension escalated, it seemed like things were heading towards a disastrous end – a botched version of this storyline had me written off as dead. Yet, their blunders turned out to be a comforting sign that all was not as it seemed, paving the way for another unexpected twist in our adventure.

While I meander along the sun-kissed Coney Island boardwalk in pursuit of Vanya’s distinctive jet-black aviators, I can’t help but notice the significant glances Igor keeps casting towards Ani. It seems there might be a new romantic adventure unfolding between them.

When Igor reveals to Ani that he has retrieved her engagement ring amidst a heavy snowfall in New York, with the rhythmic squeaking of his grandmother’s windshield wipers as a backdrop, they share a mutual comprehension. Living under the caprices of the affluent is something they have in common.

After that, Ani starts making love to Igor, but when he attempts to kiss her, her tough exterior suddenly breaks and she begins to cry uncontrollably. It seems like the burden of the horrific past few days finally comes crashing down on her all at once.

In the movie, there’s sexual activity that can be seen as transactional and non-transactional. The last scene walks a fine line between these two interpretations because Igor appears to seek a transaction, whereas Ani seems to prefer something more non-transactional.

Although these scenes take place in a strip club, it’s essential to note that they don’t directly relate to Ani’s profession as a sex worker. Baker, in his films, has focused on eliminating the stigma associated with this profession. The early strip club sequences are portrayed more like lively, Take That-infused parties, rather than the usual depiction of such places as seedy and degrading environments.

In that context, Ani is quite resourceful. Yet, as she departs from headquarters, she confides in her desire for a Disney-themed honeymoon and genuinely thinks she has discovered an escape route.

Vanya’s intimidating mother, who still clings to her apron, gradually reveals a societal structure biased against the working class in this movie. While not the first film to challenge America’s label as the ‘Land of Opportunity’, it does so effectively and with a compassionate understanding for both its blue-collar characters and sex workers.

The reality of Ani’s dashed hopes finally hits, as the financial chance slips away and her performance of control comes crashing down.

Once more, Anora bucked conventions, shunning the predictable resolution of a joyful concluding chord. Instead of opting for the typical happy ending where Ani secures her love interest or triumphs over Russian wealth, as she hints to Vanya’s mother that there might be a possibility, this film chose a different path.

For a film that keeps you guessing, it’s a fitting conclusion. The moment is so open-ended Baker wrote an epilogue for the actors’ eyes only. But would we really want the easy answer of what comes next?

Instead, following two hours of relentless forward motion, a brief, somber ending provides a glimpse into Ani’s personal emotions as her grand expectations were shattered.

Anora is out in US and UK cinemas now.

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2024-11-04 21:49