Anora

Anora was a movie about intimacy at it’s heart. And executes misdirection masterfully. So I think it essentially wants to ask: “What happens when intimacy is misdirected?”

First misdirection is created by the trailer itself. I walked into the cinema expecting to see a modern Cinderella story with an action twist. Pretty but working class woman, falling for a rich, charming boy who proposes to her and makes her his wife. Boy’s mafioso family going against this marriage. And him initiating a process that’ll make him a real man by fighting for her. But as we quickly realise through one thirds on the movie, that’s simply an illusion created on purpose. The feelings of intimacy that was inspired in the women —or men, if you’re into that— part of the audience for Ivan hit a brick wall. But that’s not the end of it. These feelings subtly tag along with us throughout the movie through empathy with our main character Anora. Despite all the evidence pointing to the contrary you deep down want Ivan to come through and a happily ever after to be theirs. So you keep on suffering the embarrassment with Anora until you cannot take it anymore and snap out of it by alienating yourself from her in the annulment scene. At which point, everything, everything you wanted to believe so far seems absurd and almost rotten.

Another misdirected intimacy story takes place between Toros, Garnick and Ivan. Toros, —the priest—, tells himself he is doing whatever he is doing and has done because of this supposed care and intimate, fatherly feelings for Ivan. And what he is doing is clearly absurd. All the while failing to see and acknowledge the terrible situation his little brother is in. So purposefully misdirecting his feelings of care and intimacy away from someone who clearly needs and deserves it towards someone that has no interest.

And finally, there is the story between Anora and Igor. Anora, having misdirected feelings of intimacy for a long time for a living, miserably fails to recognise true intimacy and care in Igor. In fact, despite Igor being the only character interacting with her because of genuine interest or care and not because of any vested stakes, Anora finds him repulsive. That’s of course until it’s undeniable anymore. When Igor hands her the ring in an extremely selfless move. But their intimacy, having survived a misdirection that took two thirds of the movie, is now at best awkward.

All of these characters misdirecting their intimacy, Anora, Toros and perhaps even the audience have a common denominator. They all do it out of selfish means. Anora wants a partner that can provide her with financial and emotional security, Toros wants to protect his lucrative relationship with Zakharovs and we the audience, well we want our happy ending.

So what the movie choses to do at this point is very critical. Mr Baker could’ve taken the easy, biblical route and created a horror story where these characters met their horrible ends. Which would’ve made this movie a cautionary tale against greed. But he choses to be —and to my liking— more grounded than that. He shows what fake intimacy for selfish means really seems like when it’s illusion is gone. Pathetic, petty characters doing an absurd dance.