Sean Baker hopes his movie ‘Anora’ sparks some changes

Sean Baker has long explored the lives of sex workers in his films, crafting stories that delve into marginalized communities and their overlooked struggles. His latest film, Anora, continues this thematic journey, focusing on Ani, a Brooklyn exotic dancer who spontaneously marries the son of a Russian oligarch, blending screwball comedy with sharp social realism.

Baker’s interest in sex work began with his 2012 film Starlet. Through this movie, set in the adult film world of California's San Fernando Valley, he began forging connections with sex workers, many of whom co-starred in the film. “There’s a million stories to be told in this world,” Baker recalls, reflecting on the endless narrative potential in these often-ignored lives.

Since Starlet, Baker has consistently captured the unseen corners of America, from donut shops in West Hollywood to gritty rural Texas. His films often tackle the lives of sex workers, including his iPhone-shot Tangerine (2015) and The Florida Project (2017), where a single mother turns to sex work in an Orlando motel. Red Rocket (2021) comically follows a washed-up porn star trying to reinvent himself.

With Anora, Baker clinched the prestigious Palme d’Or at this year’s Cannes Film Festival. During his acceptance speech, Baker dedicated the award to “all sex workers, past, present, and future,” reiterating his desire to reduce the stigma surrounding sex work. The film’s unique blend of gritty realism and farcical moments has made it a major contender for this year’s Academy Awards.

Diving Into Anora

The film stars Mikey Madison as Ani, a Brooklyn exotic dancer who embarks on a whirlwind romance with Ivan, the son of a Russian oligarch. What begins as a carefree, hedonistic joyride soon spirals into chaos when Ivan’s wealthy family discovers the marriage. Baker’s ability to turn a farcical plot into a gripping exploration of class and capitalism is a hallmark of his work. Anora draws comparisons to both British social realist filmmakers like Mike Leigh and classic Hollywood farce from directors like Ernst Lubitsch.

Baker’s films, often described as anti-fairy tales, critique modern capitalism by showing its absurdities and tragic consequences. Anora highlights how characters from all walks of life, from Ani to the oligarch’s henchmen, are trapped in transactional relationships. "It’s hard to ignore the absurdity in a country more divided by the day,” Baker says.

Behind the Scenes of Anora

Baker’s filmmaking approach is deeply immersive. For Anora, he and his wife, producer Samantha Quan, moved to Brighton Beach for months to observe and research the Russian-American community. “We don’t like to get just a surface view. We talk to people, get to know everyone,” Quan explains. This approach, combined with casting both professional and non-professional actors, gives Baker’s films their signature authenticity.

Mikey Madison, known for her role in Scream, became the film’s lead after Baker saw her performance. The two collaborated closely on shaping Ani’s character, drawing from the real-life experiences of sex workers, with the help of consultant Andrea Werhun, author of Modern Whore. Madison’s improvisational performance, especially in the film’s guerrilla-style scenes, added a rawness and unpredictability to the film.

A Push for Indie Cinema

While Baker's Anora may be garnering significant Oscar buzz, his focus remains on the independent filmmaking scene. “We don’t have to make films for that much money,” Baker insists, criticizing Hollywood’s tendency to overinflate budgets. He believes smaller, scrappier films like Anora can prove just as impactful as big-budget productions, arguing for changes in guild rules to accommodate lower-budget indie films.

As the streaming era continues to reshape the way audiences consume films, Baker hopes Anora can remind viewers of the magic of the big screen experience. For him, the film’s success isn’t about personal accolades but about championing a broader shift toward independent, artistically driven cinema. “I already won my thing,” Baker says, laughing, “but I hope this opens the door for others.”