our review of the Palme d’Or 2024

Critical At 53, the American-British director is rewarded for his seventh film which tells the story of a young New York stripper, escort in her spare time, with the spoiled son of a Russian oligarch.

Finally, some ass, some heart, some humor and characters that we love, no matter how unbearable they may be! “Anora” by Sean Baker arrived at the right time to avenge us from the looks of sadistic entomologists and sardonic misanthropes so fond of the Festival and auteur cinema. An author, the American Sean Baker is one but he does not even ask the question, that is also the difference. Humanity, the pleasure of the spectator and the forgotten people of the American dream matter more to him. Here he orchestrates the meeting between Anora, a young New York stripper, occasional escort, of Uzbek origin, with Ivan, the spoiled son of a Russian oligarch. Left to his own devices in the colossal family villa, Ivan buys Anora’s exclusive charms with pennies and even marries her in Las Vegas. Which is not at all to the taste of parents…

Read also

After “The Florida Project” and “Red Rocket”, respectively presented at the Quinzaine des Cinéastes and in competition, Sean Baker continues his colorful exploration, without miserabilism, of America on the margins, here in collision with the above-ground world of new billionaires. Between Anora, her determination, her thirst for dollars and her big mouth, and Ivan, his I-don’t-care attitude, his easy fortune and his sympathetic nonchalance, the “Pretty Woman” of the “Jersey Shore” generation plays out. Or “Cinderella” as a sex worker for whom love and success are measured in dollars and designer clothes. Before the film turns into a supercharged and funny chase with the irruption of Ivan’s father’s henchmen, a brave band of broken hands, responsible for annulling the marriage of the two lovebirds.

Perfect casting – of Mikey Madison (the bombshell Anora), seen in the latest “Scream”to Youri Borissov (one of the henchmen), discovered in 2021 on the Croisette in “Compartment No. 6” –, subtle characterization, sociological accuracy serve up a joyful and endearing cocktail of social criticism, unbridled sex and uninhibited fun. With, in the end, a rescue through love for which Sean Baker paves the way to better capture us. He says he was inspired by Robert Altman, Italian comedy from the 1960s and 1970s, Lars von Trier’s Dogma and… Jess Franco (for the red scarf, you’ll see). Above all, we saw his style flourish. It’s great to see a filmmaker grow!