It is hard to imagine a more charming Oscar winner thanSean Baker. The director – and writer, editor and producer – of Anora was wonderfully persuasive and gracious and fluent at the Academy Awards. He was funny picking up best editing, and then he was sweet accepting the screenwriter prize.The dazzling underdog with amazing legs: how Anora swept the OscarsRead moreWhen it came to the directing gong, he was downright godlike: the podium his soapbox, superbly leveraged for a gang-busting call to arms about the importance of cinema and the need for people to support bricks and mortar venues.So it pains me to say this, but I don’t really thinkAnoradeserved all those wins. Maybe even – sorry, sorry – any of them. I came to the film a bit late, after colleagues had already raved to me about its exhilarating plot and kinetic brio. As someone often lucky enough to see things early, then raise expectations a bit too high, and feel bad about it, I was aware I might not be quite as wowed as those evangelisers.3:04Oscars 2025: Anora takes it all, Adrien Brody’s second and Wicked dresses to impress – videoWhat I wasn’t expecting was to be downright baffled. Baker’s film seems to me maybe the fifth least vital of an admittedly not-earth-shattering best picture lineup: hollow, flippant, muddled, slightly dull. A cool-for-school firework display of sub-Sopranos suppleness and flexing.It doesn’t seem to me sure what it is. The swerve at the halfway mark between giddy romance to screechy screwball doesn’t seem artfully Hitchcockian but just sort of random. There’s a throughline both in narrative and tone in Baker’s other films - most notably Tangerine - whereas Anora’s U-bend plotting just felt badly-fitted.Overall, too, its attempts to be both gen Z-TikTok-tastic fun and a serious commentary on currency, capitalism and corruption didn’t square for me. How about that bit where Vanya’s parents’ enforcer answers his phone at a christening, then ditches the baby with its mum because he must attend to his errant charge? Yeah! Great! But also … not as good as Father Ted?View image in fullscreenSub-Sopranos … Karren Karagulian as Toros, Mark Eydelshteyn as Ivan, Yura Borisov as Igor and Mikey Madison as Ani.Photograph: Anora Productions/PAThe characterisation doesn’t seem much deeper. The brittleness of caricature with which Vanya’s parents were drawn made the final act tedious. That his dad cacklingly sided with Anora over his ghastly alpha wife was disingenuous and tasted of something more misogynist, too.Vayna was just a spoilt kid; Igor had fewer hidden depths than I could discern, and Anora herself had little inner life between stylishly dropping her togs, squirrelling 50s and getting endlessly let down.Mikey Madison is tremendous and owns the part, as you’d sort of hope she might as it was written for her. And I’m all for a sex positive soap with lashings of Take That. But there does feel something slightly iffy about Madison’s repeated shoutouts of allyship to sex workers. “I just want to say that I see you,” she said at the Baftas – and then again at the Oscars. “You deserve respect and human decency. I will always be a friend and an ally, and I implore others to do the same.”Iffy not just because you’d hope that would go without saying, but because Anora makes prostitution look fun, safe and lucrative. Perhaps it can be. And it’s true Anora’s job is the crux of her new in-laws’ disapproval. But combatting professional prejudice should you impulsively marry the heir to a Russian fortune just doesn’t feel that pressing or relatable an issue.Anyway, it’s won, it’s done, Baker’s great even if his film didn’t strike me the same way. He’s trying to save cinema, and he’s succeeding. I just hope his next intervention has a bit more heart.Read more about the 2025 Oscars:Anoratakes home best picture OscarAdrien BrodyandMikey Madisonwin best acting prizesKieran CulkinandZoe Saldañawin supporting awardsAnora’s Sean Baker wins fordirecting, editing andscreenplay
Anora has swept the Oscars. I can’t help feeling that shouldn’t have happened | Catherine Shoard
TruthLens AI Suggested Headline:
"Critique of Anora's Oscar Success Raises Questions About Its Artistic Merits"
The Guardian
6.0
TruthLens AI Summary
Sean Baker, the multifaceted director, writer, editor, and producer of the film Anora, captivated audiences at the Oscars with his charm and eloquence. His acceptance speeches for Best Editing and Best Screenplay were filled with humor and grace, while his address upon winning Best Director transformed the podium into a passionate platform advocating for the significance of cinema and the necessity of supporting traditional movie theaters. However, despite his engaging presence and the accolades garnered by Anora, the film itself has drawn mixed reactions, with some critics questioning whether it truly deserved its sweeping success at the Oscars. The film, which was initially met with enthusiastic praise from colleagues, left some viewers, including the author, perplexed and underwhelmed, leading to a critical reassessment of its narrative and artistic merits.
Critically, Anora has been described as lacking depth and coherence, with a plot that appears disjointed and unfocused. The film attempts to blend elements of vibrant, contemporary storytelling with serious themes surrounding capitalism and corruption, yet these efforts often feel incongruous. The characters are portrayed in a way that seems superficial, particularly Vanya's parents, whose exaggerated traits detract from the overall narrative. Although Mikey Madison delivers a commendable performance as Anora, the film's portrayal of sex work raises ethical questions, especially in how it glamorizes the profession while addressing societal prejudices. While Baker's intent to resurrect cinema is commendable, the film's execution and thematic clarity leave much to be desired, prompting calls for a more heartfelt and cohesive project in the future.
TruthLens AI Analysis
The article presents a critical perspective on the recent success of the film "Anora" at the Oscars, particularly focusing on the director, Sean Baker. It juxtaposes the excitement surrounding Baker's win with the author's personal disappointment regarding the film's quality. The analysis reveals a deeper commentary on the nature of award-winning films and the expectations that come with them.
Motivation Behind the Publication
There seems to be an intention to provoke thought and discussion about the validity of award winners in the film industry. By expressing skepticism about "Anora's" wins, the article encourages readers to reflect on their own views regarding the merit of films recognized by prestigious awards.
Public Perception and Sentiment
The article aims to shape a narrative that challenges the notion of universal acclaim for "Anora." By highlighting the author's confusion and dissatisfaction, it may resonate with audiences who feel similarly but lack a platform to voice their opinions. This can create a sense of community among those who question mainstream accolades.
Potential Omissions
While the article critiques "Anora," it does not delve into the broader context of the film industry or the criteria for Oscar nominations and wins. This omission may lead readers to form an incomplete understanding of the dynamics at play in award ceremonies, such as marketing and industry politics.
Truthfulness of the Article
The article reflects a subjective viewpoint, which is valid but also inherently biased. The author's personal experience and expectations influence their assessment of the film, which may not represent a universal truth about "Anora." Therefore, the reliability of the article hinges on individual perspectives rather than objective data.
Underlying Message
The underlying message seems to promote a critical lens on popular consensus in cinema. It urges audiences to question what is deemed as worthy of recognition and to consider the diversity of opinions that exist outside mainstream acclaim.
Connections with Other News
This critique could reflect a broader trend in film criticism, where independent or unconventional films are often pitted against traditional expectations of storytelling and thematic depth. It may connect with other articles that discuss the evolution of film and the impact of cultural shifts on audience expectations.
Impact on Society and Economy
While the article primarily focuses on film, discussions around cultural products can influence public discourse. If audiences begin to question award winners, it could affect box office sales and the types of films that get funded and produced. This sentiment may also ripple into broader discussions about art, commerce, and creative expression.
Audience Engagement
The article appears to target cinephiles and critical viewers who engage deeply with film narratives and their societal implications. It may resonate particularly with those disenchanted by mainstream cinema or who feel that certain films receive accolades without sufficient merit.
Market and Economic Impact
The success or failure of films like "Anora" can influence market dynamics within the film industry, affecting investment in similar projects. If public sentiment shifts against a film's acclaim, it could lead to decreased interest in sequels or similar genres, impacting stock prices of production companies involved.
Geopolitical Considerations
While the article does not directly address geopolitical issues, the cultural influence of films and their reception can reflect broader societal trends that impact global perceptions of art and media. The success of a film like "Anora" at an internationally recognized event like the Oscars can contribute to discussions on cultural hegemony and representation in global cinema.
Use of AI in Writing
There’s no clear indication that AI was used in crafting this article, but if it were, models trained on film criticism and cultural commentary could have influenced the writing style. The critical tone and nuanced analysis suggest a human touch, likely reflecting the author's personal experiences and interpretations.
Manipulative Elements
The article does exhibit a degree of manipulation through its strong language and subjective viewpoint. By emphasizing confusion and disappointment, it can sway public opinion against "Anora," potentially fostering a divisive atmosphere among filmgoers. The article serves as a critical reflection on the nature of film accolades and the subjective experience of cinema, emphasizing the importance of diverse opinions in the discourse surrounding art and recognition.