‘Anora’ Lures All Eyes to Attention

“Anora” is a Cinderella story from the streets of Brooklyn.

When strip dancer Anora, nicknamed “Ani,” spontaneously weds the son of a Russian crime family, Ivan “Vanya” Zakharov, the performer faces the consequences of marrying into a vain oligarchy.

Written and directed by Sean Baker, “Anora” is an explicit rollercoaster through New York City nightlife. Showcasing nudity and drug use within clubs, parties and sex scenes, “Anora” takes the premise of “Pretty Woman” and adds an X-rated aesthetic.

“Anora” markets itself as a love story between two star-crossed lovers fleeing the Russian mob. However, the advertising only reveals the film’s first 30 minutes.

Running over two hours, most of the story unfolds over a single night. Similar to Martin Scorsese’s “After Hours” and the Safdie brother’s “Good Time,” the bulk of “Anora” is a suffocating stream of disasters throughout New York.

Renowned for utilizing amateur actors and iPhone cameras, Baker (“The Florida Project,” “Red Rocket”) switches to Hollywood-level production for “Anora.” Recorded on 35-millimeter photographic lenses, the pristine direction brazenly captures the full-frontal story.

From the cityscape lights of New York to the dingy dives inhabiting it, “Anora” is a glitzy, sleazy snapshot of the City That Never Sleeps. Eye-catching cinematography draws focus to each flashing light and expression from the cast — be it gleeful or solemn.

Continuing the thread from Baker’s previous films, “Anora” destigmatizes sex workers and hones in on their humanity. Ani’s desire to be valued is a universal want, one that’s seemingly promised for the rest of her life with Vanya.

When Vanya’s family aims to annul their marriage, Ani’s bare-knuckle refusal represents her desperate need for meaningful connection and prosperity — needs not met by the personalities surrounding her as a strip dancer.

Mikey Madison is magnetic as the foul-mouthed Brooklynite Ani. Compelled to annul her marriage by Russian enforcers, Madison (“Scream,” “Once Upon a Time… in Hollywood”) embraces a brash attitude to latch onto the taste of luxury. Madison’s performance is radiantly shameless in her cadence, composure and conviction.

Mark Eydelshteyn as Vanya is a mellow counter to Ani. Spending his days partying across the city, Eydelshteyn (“We Should Make Movies About Love,” “Farma”) swaps his carefree attitude for childishness when Vanya is put under pressure.

While not prominently featured in the marketing, Yura Borisov as Zakharov’s henchman Igor is a surprisingly crucial component of the story. Borisov subverts the expectations of a criminal grunt with a gentle, light-hearted nature that calms Ani’s distress.

“Anora” is more than aware of its absurd premise of the Russian mob breaking apart a week-long marriage. Circumstantial comedy comes in spades from Ani’s crass outbursts, Vanya’s boyish demeanor, Tom’s endearing ambivalence as well as a wealth of witty conversations and purposefully discomforting scenes.

However, the film isn’t spineless with its drama. Despite its plot and characters, “Anora” takes time to sit with the cast and stew in their emotions. Outside of flagrant parties, the film lacks a soundtrack, resulting in utter silence when heavy beats transpire. Though the film rivals typical comedies, its final scene is hauntingly sober.

“Anora” is a stunning expression of empathy towards an industry of workers who’re often overlooked. The film incites distress and laughter with a cast of animated characters who rarely cease feeling like real people. It’s a lavish Odyssey through the prolific club scene of the Big Apple.

From filmmaking and city street avenues, “Anora” is paved with passion.

“Anora,” rated R, comes to theaters Oct. 18.

This article was edited Nov. 2