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The 2025 Oscars ceremony, a spectacle of glitz, glamour, and cinematic recognition, has concluded, leaving in its wake a tapestry of triumphs and tribulations, celebrations and controversies. While the evening was undeniably dominated by the success of Sean Baker's 'Anora,' a film that swept through the awards, securing accolades for directing, editing, and screenwriting, a dissenting voice emerges, questioning the very foundation upon which this victory was built. The author, seemingly a seasoned film critic with a penchant for early screenings and a self-confessed susceptibility to inflated expectations, embarks on a critical dissection of 'Anora,' challenging its artistic merit and questioning its deservedness of the prestigious awards it has garnered. The initial praise for Baker, the director, writer, editor, and producer of 'Anora,' is effusive. His charming demeanor, eloquent acceptance speeches, and impassioned plea for the preservation of cinema are all lauded. However, this admiration serves as a prelude to a dissenting opinion, a stark contrast to the widespread acclaim surrounding the film. The author explicitly states a feeling that 'Anora' did not deserve its wins, perhaps even any of them, revealing a profound disconnect between their personal experience of the film and the collective enthusiasm of their colleagues and the Academy. This sets the stage for a detailed critique, a meticulous examination of the film's narrative, characters, and thematic underpinnings, aimed at unraveling the perceived disparity between its critical success and its perceived artistic shortcomings. The author acknowledges the potential influence of pre-existing hype, admitting to having approached the film with heightened expectations after hearing rave reviews. However, they assert that their disappointment went beyond mere unmet expectations, escalating into outright bafflement. Describing 'Anora' as the fifth least vital film in an admittedly underwhelming best picture lineup, they paint a picture of a film that is hollow, flippant, muddled, and slightly dull. The imagery of a 'cool-for-school firework display of sub-Sopranos suppleness and flexing' further underscores their dissatisfaction, suggesting a film that prioritizes style over substance, superficiality over depth. The core of the author's critique lies in the perceived lack of clarity and coherence in 'Anora's' narrative and thematic execution. They argue that the film struggles to define its own identity, oscillating between giddy romance and screechy screwball without achieving a harmonious blend. The comparison to Hitchcockian suspense falls flat, with the author deeming the film's narrative shifts as random rather than artful. Furthermore, they highlight the absence of a consistent throughline, a defining characteristic of Baker's previous works, particularly 'Tangerine.' The perceived disjointedness of 'Anora's' plot, characterized by a 'U-bend plotting,' is presented as a fundamental flaw that undermines its overall impact. The author also expresses reservations about the film's attempts to simultaneously embrace Gen Z aesthetics and engage in serious commentary on currency, capitalism, and corruption. They find the juxtaposition of TikTok-tastic fun and profound social critique to be incongruous and ultimately unsuccessful. The specific example of Vanya's parents' enforcer answering his phone at a christening and abandoning the baby to attend to his duties is cited as a moment that is both amusing and uninspired, falling short of the comedic brilliance of 'Father Ted.' This critique extends to the film's characterization, which the author finds to be lacking in depth and complexity. The portrayal of Vanya's parents is described as a 'brittleness of caricature,' rendering the final act of the film tedious. The father's seemingly sudden alignment with Anora over his wife is deemed disingenuous and potentially misogynistic. Vanya is reduced to a spoiled child, Igor lacks hidden depths, and Anora herself is portrayed as having little inner life beyond her occupation, her fondness for money, and her recurring disappointments. While acknowledging Mikey Madison's tremendous performance in the role of Anora, particularly considering the character was written for her, the author raises concerns about her repeated shoutouts of allyship to sex workers. While they appreciate the sentiment behind these statements, they argue that 'Anora' presents a romanticized and potentially misleading portrayal of prostitution, depicting it as fun, safe, and lucrative. They argue that the film's focus on combating professional prejudice against sex workers, particularly in the context of marrying into a wealthy Russian family, feels less pressing and relatable than other social issues. Ultimately, the author concludes by acknowledging 'Anora's' victory and Baker's continued contributions to cinema. They commend his efforts to revitalize the industry and express hope that his future projects will possess greater heart and emotional depth. While the author's critique of 'Anora' is scathing, it is presented with a sense of respect for Baker's talent and a genuine desire for his future success. The essay serves as a reminder that critical discourse is essential for the growth and evolution of art, even in the face of widespread acclaim. The author's willingness to challenge the prevailing narrative surrounding 'Anora' invites viewers to engage in a deeper and more nuanced consideration of the film's merits and shortcomings, fostering a more informed and critical appreciation of cinema.
The essay presented here challenges the celebratory narrative surrounding Sean Baker's 'Anora' and its sweeping victory at the 2025 Oscars. While acknowledging Baker's charm and impassioned advocacy for cinema, the author expresses a profound disconnect between the film's critical acclaim and their own experience of it. This discrepancy forms the crux of the argument, prompting a detailed examination of 'Anora's' narrative, character development, and thematic coherence, all of which are found wanting. The author's primary critique centers on the film's perceived lack of clarity and focus. 'Anora' is described as a disjointed work that struggles to reconcile its disparate elements, oscillating between romantic comedy and screwball without achieving a cohesive or meaningful whole. The comparison to Hitchcockian suspense fails to resonate, with the author deeming the narrative shifts as arbitrary rather than skillfully crafted. This lack of a consistent throughline, a hallmark of Baker's previous films like 'Tangerine,' is presented as a significant flaw that undermines the film's overall impact. The essay also raises concerns about 'Anora's' attempts to simultaneously appeal to a Gen Z audience and engage with complex social issues. The author finds the juxtaposition of lighthearted entertainment and serious commentary on capitalism and corruption to be jarring and ultimately unsuccessful. This disconnect is exemplified by the scene involving Vanya's parents' enforcer, which, while amusing, lacks the comedic brilliance necessary to elevate it beyond a mere gag. Furthermore, the essay scrutinizes the film's characterization, which is deemed superficial and lacking in depth. The portrayal of Vanya's parents is criticized as being overly caricatured, rendering the film's final act tedious and predictable. The father's sudden shift in allegiance towards Anora is viewed as disingenuous and potentially misogynistic. Vanya is reduced to a spoiled child, Igor lacks any discernible inner life, and Anora herself is depicted as a one-dimensional character defined primarily by her profession and her pursuit of wealth. The essay also addresses the controversy surrounding Mikey Madison's repeated pronouncements of allyship towards sex workers. While acknowledging the positive intentions behind these statements, the author argues that 'Anora' presents a sanitized and potentially misleading portrayal of prostitution, glossing over the inherent risks and challenges associated with the profession. This romanticized depiction, coupled with the film's focus on professional prejudice against sex workers within the context of a wealthy marriage, is deemed less pressing and relatable than other social issues. The author contends that 'Anora' fails to capture the complexities and nuances of the sex work industry, instead offering a simplistic and potentially harmful representation. In conclusion, the essay argues that 'Anora's' success at the Oscars is undeserved, based on the film's lack of narrative coherence, shallow character development, and problematic portrayal of sex work. While acknowledging Baker's talent and his efforts to revitalize cinema, the author expresses hope that his future projects will demonstrate greater artistic depth and social awareness.
Delving deeper into the specific criticisms levied against 'Anora,' it becomes clear that the author's dissatisfaction stems from a fundamental disagreement with the film's artistic choices and thematic priorities. The perceived lack of narrative cohesion is not merely a matter of subjective preference but rather a reflection of the film's inability to establish a clear and compelling purpose. The shifts in tone, from lighthearted romance to farcical comedy, feel jarring and arbitrary, lacking the intentionality and finesse that would elevate them to the level of Hitchcockian suspense. The absence of a consistent throughline, a defining characteristic of Baker's previous works, further contributes to the film's sense of disjointedness, leaving the audience feeling adrift and uncertain of the story's ultimate destination. The essay's critique of the film's characterization also extends beyond mere aesthetic preferences. The portrayal of Vanya's parents as caricatures, while potentially intended as satirical, ultimately undermines the film's emotional resonance and reduces them to mere plot devices. The father's seemingly sudden change of heart towards Anora, while perhaps intended to be a moment of redemption, feels forced and unconvincing, lacking the emotional depth and psychological complexity that would make it truly believable. The reduction of Vanya to a spoiled child and Igor to a blank slate further diminishes the film's ability to engage with its audience on a meaningful level. The essay's discussion of Mikey Madison's portrayal of Anora and her pronouncements of allyship towards sex workers raises important ethical considerations. While the author acknowledges the positive intentions behind Madison's statements, they argue that 'Anora' ultimately fails to provide an accurate and nuanced representation of the sex work industry. The film's romanticized portrayal of prostitution, coupled with its focus on professional prejudice within the context of a wealthy marriage, risks perpetuating harmful stereotypes and obscuring the inherent risks and challenges associated with the profession. By failing to engage with the complexities and nuances of the sex work industry, 'Anora' misses an opportunity to promote greater understanding and empathy. The essay's overall argument is not simply that 'Anora' is a bad film but rather that its success at the Oscars is indicative of a broader trend within the film industry towards prioritizing style over substance and superficiality over depth. The film's ability to garner widespread acclaim despite its perceived flaws raises questions about the criteria used to evaluate and reward cinematic art. By challenging the prevailing narrative surrounding 'Anora,' the essay seeks to promote a more critical and discerning approach to film appreciation, encouraging audiences to engage with films on a deeper and more meaningful level.
Extending the analysis further, the author subtly posits that the Academy's embrace of 'Anora' could be interpreted as a validation of specific cinematic trends and a potential misdirection for aspiring filmmakers. Baker's genuine passion for cinema and his advocacy for its preservation are commendable, but the film's perceived weaknesses suggest that mere enthusiasm and well-intentioned messages are insufficient to guarantee artistic merit. The risk lies in the possibility that young filmmakers, inspired by 'Anora's' success, might prioritize superficial elements, such as stylistic flourishes and trendy themes, over fundamental aspects like narrative coherence, character depth, and thematic resonance. The criticism directed at the film's attempts to blend Gen Z aesthetics with social commentary highlights the challenges inherent in creating art that is both relevant and profound. The incorporation of TikTok-inspired visuals and dialogue might appeal to a younger audience, but if these elements are not seamlessly integrated into the narrative and thematic fabric, they can come across as contrived and ultimately detract from the film's overall impact. The author's suggestion that the film's portrayal of sex work is problematic raises crucial questions about the responsibility of filmmakers to accurately and sensitively represent marginalized communities. While 'Anora' may not have explicitly intended to promote harmful stereotypes, its romanticized depiction of prostitution could inadvertently contribute to a lack of understanding and empathy. The author's critique serves as a reminder that filmmakers must be mindful of the potential impact of their work and strive to avoid perpetuating inaccurate or misleading portrayals. The essay also implicitly challenges the notion that commercial success and critical acclaim are always reliable indicators of artistic merit. 'Anora's' ability to resonate with a wide audience and garner the approval of the Academy does not necessarily validate its artistic choices or negate its perceived flaws. The author's dissenting voice underscores the importance of independent critical thought and the need to resist the temptation to blindly accept popular opinion. In essence, the essay functions as a cautionary tale, urging filmmakers and audiences alike to prioritize substance over style, depth over superficiality, and critical engagement over uncritical acceptance. The success of 'Anora' should not be interpreted as a validation of mediocrity but rather as an opportunity to reflect on the complexities of cinematic art and the importance of upholding rigorous standards. The author's hope that Baker's future projects will demonstrate greater heart and emotional depth reflects a desire for him to continue pushing the boundaries of cinema while remaining grounded in fundamental artistic principles. The essay concludes with a subtle call to action, encouraging viewers to approach films with a more critical and discerning eye, to question prevailing narratives, and to demand more from the art they consume. The ultimate goal is not to diminish Baker's achievements but rather to foster a more informed and nuanced appreciation of cinema and to inspire future generations of filmmakers to strive for excellence.
The author's measured critique of 'Anora,' while initially appearing harsh, ultimately reveals a nuanced perspective on the complexities of filmmaking and the subjective nature of artistic evaluation. The essay doesn't simply dismiss the film as unworthy but rather dissects its individual components, identifying both its strengths and its weaknesses. This approach allows for a more balanced and informed assessment, moving beyond simplistic pronouncements of 'good' or 'bad' and delving into the specific elements that contribute to the author's overall dissatisfaction. The repeated emphasis on the film's lack of narrative cohesion and character depth underscores the importance of these fundamental elements in creating a compelling and meaningful cinematic experience. While stylistic flourishes and trendy themes can certainly enhance a film's appeal, they cannot compensate for a weak narrative or underdeveloped characters. The author's critique serves as a reminder that the foundation of any great film lies in its ability to tell a compelling story and create characters that resonate with the audience on an emotional level. The discussion of the film's portrayal of sex work also raises important ethical considerations about the responsibility of filmmakers to accurately and sensitively represent marginalized communities. The author's concern that 'Anora's' romanticized depiction of prostitution could inadvertently perpetuate harmful stereotypes highlights the potential for film to influence public perception and shape societal attitudes. This underscores the need for filmmakers to be mindful of the potential impact of their work and to strive for authenticity and nuance in their representations of diverse experiences. The author's implicit challenge to the notion that commercial success and critical acclaim are always reliable indicators of artistic merit is particularly relevant in today's media landscape, where films are often judged based on their box office performance and their ability to generate buzz on social media. The author's dissenting voice serves as a reminder that true artistic merit is not always reflected in popular opinion and that it is important to cultivate independent critical thought. The essay's overall message is not one of cynicism or negativity but rather one of hope and encouragement. The author's desire for Baker to continue pushing the boundaries of cinema while remaining grounded in fundamental artistic principles reflects a belief in the power of film to inspire, enlighten, and transform. The essay ultimately serves as a call to action, encouraging viewers to approach films with a more critical and discerning eye and to demand more from the art they consume. By engaging in thoughtful and informed discussion, we can contribute to a more vibrant and intellectually stimulating cinematic landscape.
Source: Anora has swept the Oscars. I can’t help feeling that shouldn’t have happened