When Ani (Mikey Madison) agrees to meet one of her young strip-club clients, Ivan (Mark Eydelshteyn), at his home, she is taken aback by just how lavish that home is. That’s the setup for this scene from “Anora,” which follows the budding relationship, both transactional and emotional, between the title character, Ani, and Ivan.
This sequence takes place before Ani learns that Ivan is the son of a Russian oligarch, and it is crafted to give both Ani and the audience an eye-opening look at the outsize abundance of Ivan’s space.
Narrating the scene, the film’s writer, director and editor, Sean Baker, said, “I wanted the camera to essentially be following Ani, but also be seeing the world through Ani’s eyes.” He achieved this by keeping the cuts to a minimum. After Ani rings the doorbell and Ivan answers, the bulk of the sequence unfolds in one shot, following her with a hand-held camera (operated by the cinematographer Drew Daniels) as she marvels over the mansion.
“It really sets up the geography,” Baker said, “because the geography is going to be extremely important later on in the film.”
Read the “Anora” review here: nyti.ms/4fofE2U
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