The film Screwball Stripper should win all the Oscars

Films cannot, by definition, be everything for everyone, and yet Anora—Din from the highest distinction of the Cannes Film Festival, the Palme d'Or – takes care of the seniority between the matching registers with an amazing and finally touching plumb.

Another Florida's project And Red rocket The stories of the writer / director Sean Baker of marginalized individuals who find it difficult to survive and find themselves in an often unknown world, the film is a character study, a romance, a crime saga, a comedy with respect and a drama truth while wrapped in a unique and dexterous package. More impressive than his agitation, however, is his balance and his empathy, the latter, which is mainly granted to his protagonist, whose life is thrown for a master's degree in the roller coaster thanks to a fortuitous introduction.

Ani (Mikey Madison, in a star tour) is a 23 -year -old woman from Brighton Beach who lives with her sister and earns her life by undressing in a local club. AnoraWho arrives in theaters on October 18, presents it at the end of a long stove along a bench where men receive dances from erotic professionals. Setting on Ani's face as she flashes the false smile that her customers are looking for and that her superiors demand, Baker's camera creates an immediate and intimate commitment with the young woman, and who continues that he presents snapshots of her daily routine (or rather, every evening) at her place of work.

Trawing the Floor trying to attract men to align his g rope with money, smoking and chatting on the sidewalk with her friend and colleague Lulu (Luna Sofía Miranda), and bickering in the crowded locker room with her rival diamond (Lindsey Normington), Ani is completely comfortable in these surroundings. For all the degrading comments and questions that she receives – such as a customer asking her if her family knows what they do in life – she appears much happier here than everywhere else.

Because her grandmother was Ouzbek and she speaks a little russian rushed, the boss of Ani Jimmy (Vincent Radwinsky) asks her to entertain Ivan (Mark Eidelshtein), a Russian Immature Playboy who woos with Booze bottles and $ 100 tickets. At the end of the evening, Ivan asked for her number, and the next day, she is invited to her home – an opulent mansion that is protected by a door and a security guard and has an elevator, several sumptuous floors and balcony views on the water.

Ani is naturally dazzled and identifies Ivan as a sugar potential dad that she can milk for a massive product. This fact that she does it, although Ivan quickly degenerates their relationship, starting with an invitation to his “striking” New Year Day. Before a long time, he is so struck that he concludes an agreement with her: be his exclusive girlfriend for a week and he will pay him $ 15,000. Unsurprisingly, she agrees.

Ani naturally thinks that she struck her rich in the Pretty woman And assumes his role of playing Ivan, with a passionate sex which always seems, for her, like a performance. On a whim, the duo – attached by the friends of Ivan – Jet in Vegas, where more debauchery turns the head of Ani and the heart, if not vanish, then at least softening.

When, in bed, Ivan offers him, she initially takes it like a gag. However, he turns out to be sincere and they are quickly engaged in the small emblematic white wedding chapel. When she returned home, Ani made her business of the club and dreams of a honeymoon subsequent to Walt Disney World with Cinderella – a nod to the resolutely nature of the Fairy in the history of Baker.

A giant wedding ring and a fur coat later, Ani is entirely installed in her new Ritzy life. Alas, once rumors come out that Ivan made the knot with a modest silhouette like Ani, the boy ends in large trouble with his powerful oligarchy parents. The immediate responsibility of rectifying this mess belongs to their Toros onions (Karren Karagulian), which bombes a baptism to face the problem once its own subordinates garnick (Tovmasyan cow) and Igor (Yura Borisov) do not do the job.

The clownic of Igor and Igor are trying to contain Ivan (who fled) and Ani (who wreak havoc and the house) is the moment when Anora is in a more openly comical mode, marked by prolonged episodes of lacerated slapstick of blasphemy while Ani seeks to take a certain control over his capricious circumstances. This is an impossible mission, because it is ultimately obliged – under a formidable constraint – to join Toros, Garnick and Igor on random metropolitan research for Ivan before his imperative mother (Darya Ekamasova) manages to force the newborns to ensure that their annual union.

Baker mixes chaotic madness and eccentric absurdity without ever losing sight of Ani, which remains at the front and center of its width and fluid frame of Daniels. For all his pandemonium, Anora Constantly capture shared looks, disabled remarks and occasional gestures that say a lot about his characters.

Ani is a whirlwind of calculated ambition and sentimental desire, always passionate about the angles she must play in order to stand in a position of choice, and yet also naive to think that she can manage this crazy situation. Madison has a ferocity which is both authentic and a pose designed to hide frustration and despair, and it plays Ani – whose real name is anora, which it does not like in a revealing way – as a force of nature which is nevertheless at the mercy of the stormy criminal, economic and social dynamics.

Anora Becomes a little tired of the prolonged and futile efforts of Ani to locate Ivan and, once accomplished, to avoid permanent separation, and in his conclusion, he radiates pain that talks about his underlying themes on work (and, in particular, sex work), exploitation, opportunism and the possibility of taking place.

Once again, changing tones, Baker closes with a Coda in which Ani, faced with a bitter reality, endeavors one last time for the connection, to discover – with heartbreaking and heartbreaking tears – that the main things shared between those on the fringes are misfortune and, even worse, hope that there is a better (magic) tomorrow waiting on the other side of today. Baker's love for these outbursts and lowlifs is as palpable as Ani's despair, and the two shine through Anora With a brightness adapted to her wild, anxious, attractive and unruly heroine.