.

A few weeks ago, when I was on the train home from the London Film Festival screening of Emilia Pérez, something came up on my socials about how Mikey Madison was the leading contender for the Oscar for her work in Anora. I found that hard to accept having just watched the incredible performances of the three central women in Jacques Audiard’s movie. How could anyone eclipse the perfectly measured acting shown by Karla Sofía Gascón, Zoe Saldana and Selena Gomez, who let’s not forget jointly took home the award at Cannes? It isn’t as though I stepped out of Anora with the scales falling from my eyes but a day later I have to say that Madison’s appearance in this film has totally stayed with me, she is an absolute powerhouse and I can see why people are suggesting she’s got the gong in the bag. 

In this movie Madison plays the title character who meets a rich guy that she falls for, having initially been hired by him as a sex worker. After he exclusively commissions her for a week to act as his girlfriend (in every respect) he offers her a life with him in place of her job as a lap dancer and escort. Madison it has to be said is brilliant, seemingly channeling Marisa Tomei in My Cousin Vinny with her take no crap attitude and strong Brooklyn accent, as she finds herself having to contend with the aftermath of her whirlwind romance and the reactions of the guy’s powerful family following their sudden marriage. The similarities to Tomei’s performance (that, let’s not forget, earned her an Oscar) may not be unintended as the plot itself so clearly riffs on another famous 90’s movie. What director Sean Baker does though is take these ideas and, just like he did in Tangerine and The Florida Project, plays them out with sharply focused realism.

Part of that verisimilitude is in the quite graphic depictions of working in the sex industry. There is a lot of nudity, especially from Madison, and it is shot in a way as to titillate. I’m not sure this is entirely necessary, and it doesn’t seem to be making a point as similar moments did in The Substance, but it is consistent of Baker not to shy away from what is actually a key part of the story and characterisation (and let’s not forget, that this reflects scenes that lead to Emma Stone earning her last Oscar). It’s only recently, with Brooke Shields, Olivia Hussey and others, that we’ve heard actors reflecting on their own experiences of past sex scenes and the manipulative nature of how they were captured. The outcome of this conversation appears to be an upturn in female nakedness in American cinema though, where you’d suppose it would have had the opposite effect. The resulting importance and presence of intimacy coordinators on sets seems to have freed filmmakers up to capture more of this type of thing on screen and Anora definitely runs with this. 

What is perhaps a little different to Baker’s other movies is that while the adherence to honest depictions of real life are still maintained, there is a humour to it too. The Florida Project had elements of this with the cheek and boldness of Brooklynn Prince’s young Moonee, but there is sustained comedy here. This is only managed through the direction and the performances and Madison is not the only one who shines through in this respect. There are believable heroes and villains here and they aren’t always who you’d expect them to be. As with all of Baker’s work the film also has a brilliant ending that says a huge amount with simple actions and gestures and allows it all to close with beautifully, heartbreaking power. 

There is indeed no question that this movie will feature in awards season. While Madison didn’t win for her acting in Cannes the film did win the Palme d’Or. The conscious awareness of Hollywood’s past is something the Academy voters will lap up as well. Julia Roberts is going to love it. I hope more of those involved, other than just Madison, are recognised and that the work is widely celebrated. I still think Emilia Pérez is better but this film should absolutely be in the conversation. I don’t always like it when they just take the protagonist’s name for the title of a movie but both of these narratives explore a particular female strength and a particular female experience and the names of those whose story they tell should be front and centre. The fact that audiences are being gifted such strong parts for women this year is a victory as well, no matter who wins. 

Catch Anora in cinemas now. Missing it would be a big mistake, big. Huge!