Shivi's Take: Anora

 Shivi's Take:  Anora

Until now, my blog has mostly been a space where I’ve written about manifestation and the universe—just four posts in, and it already feels like a world of its own. But beyond that, there’s something else I’ve always wanted to talk about: films. Cinema has shaped the way I think, the way I feel, and the way I see stories unfold, and I’ve finally decided to bring that love here.

Shivi’s Take is where I’ll share my thoughts on films—not just reviews, but reflections, interpretations, and everything in between. I’ll still continue writing about the things I always have, but this is something new. Something I’ve been meaning to do for a while.

And what better way to start than with Anora, a film I recently watched at the Red Lorry Film Festival?

Directed by Sean Baker, Anora is a wild ride from start to finish. The story follows Anora, a young sex worker in Brooklyn, who finds herself in a whirlwind romance with Vanya, the son of a powerful Russian oligarch. What starts off as an impulsive, carefree marriage soon spirals into chaos when his family steps in, determined to separate them at any cost. The film effortlessly blends humor, drama, and sharp social commentary, making it an unforgettable watch.

Honestly, this film winning the Palme d'Or felt completely deserved. Mikey Madison’s performance as Anora was phenomenal—she carried the film with such authenticity, making every moment feel real. The entire cast was incredible, but one scene that stuck with me was when Mikey (Anora), Karren Karagulian (Toros), Yura Borisov (Igor), and Vache Tovmasyan (Garnik) were walking towards the diner to find Vanya. The composition of that shot was chef’s kiss—perfectly framed between the pillars in the background, adding such a subtle but powerful visual symmetry to the moment.

One thing I found interesting was how Anora draws inspiration from Pretty Woman, but flips the script. The classic rom-com follows a sex worker falling in love with a wealthy businessman, whereas Anora takes that premise and injects rawness, danger, and reality into it. Coincidentally, I had rewatched Pretty Woman right before watching Anora, which made the parallels stand out even more.

As someone who wants to write and direct films one day, I couldn’t help but admire how well-structured this movie was. The pacing was spot on—fast enough to keep you hooked, but never rushed. Every scene had a purpose, every shot was intentional. The way Baker builds tension, particularly in the latter half of the film, is something I want to study further.

I walked out of the theatre feeling both inspired and slightly overwhelmed, in the best way possible. Anora isn’t just a film—it’s an experience. And if this is what Sean Baker can do with a story like this, I can’t wait to see what he does next.

Thankyou so much reading!