It’s obviously indecent to gloat about the misfortune of others — but, in the case of this year’s Oscars race, I have to confess that I couldn’t be happier that Netflix’s Emilia Pérez has flamed out on account of its controversial star whose problematic tweets have made her persona non grata on the awards circuit. Because that’s provided a vacuum that Anora, from director Sean Baker, looks set to fill. “After this weekend,” Fast Company predicts, “Anora is the new Best Picture front-runner.”
Baker’s Anora was certainly one of the most exciting films to emerge from last year’s festivals, earning widespread acclaim for its raw storytelling, urgent social commentary, and standout performances. But if there’s one aspect of the film that deserves to be shouted from the rooftops, it’s star Mikey Madison’s career-defining turn in the lead role.
I finally got around to watching the movie over the weekend — super late, I know — and I get it now. Madison’s performance is nothing short of revelatory. And with the Oscars just around the corner, I’m not surprised at all that she’s at the forefront of the Best Actress conversation.
Madison, previously known for her work in Better Things and Scream (2022), delivers a powerhouse performance as the titular Anora, a young woman navigating a turbulent and emotionally charged journey. Her character goes by Ani, and she’s a young sex worker in Brooklyn who seemingly hits the jackpot when Vanya, the hedonistic son of a Russian billionaire, falls for her and they marry. But when Vanya’s parents find out about the marriage, they dispatch their henchman to undo the union — which leads to a wild chase through the streets of New York.
Madison brings a mix of vulnerability, defiance, and raw authenticity to the role — owning every single second that she’s in the frame. She doesn’t just act; she inhabits this character, making Anora’s struggles and triumphs feel heartbreakingly real. The vulture in her squeezes Vanya for money, while the giggly young woman in her can’t resist his child-like charms. When she stands in front of the floor-to-ceiling window of his parent’s mansion, you feel what she feels: Finally, a chance to leave the lapdances behind and get a taste of the good life. In Madison’s hands, Ani contains multitudes.
Later in the movie, she verbally lacerates Vanya’s oligarch father, switching on the tough Brooklyn accent for maximum effect. And that final scene in the car — I’m still reeling from that one.
Anora is suffused with the indie spirit and urgent storytelling that align with recent trends of the Academy embracing more daring and unconventional performances. Likewise, Baker has a history of crafting unforgettable female protagonists, such as Bria Vinaite’s breakout role in The Florida Project. Here, it’s Madison who delivers the kind of performance in Anora that propels an actor into the upper echelon of Hollywood talent.
Madison’s performance in Anora is a masterclass in naturalism and emotional depth, reminiscent of past Oscar-winning performances from independent films. If there’s any justice in the awards race, she’ll be walking onto the Dolby Theatre stage next month to accept her well-earned trophy. Whether or not the Oscars acknowledge her brilliance, though, cinephiles and critics alike already know the truth: Anora owes its success to its leading lady — she’s a beautiful, talented, commanding force to be reckoned with.
