Anora

The results are in: Mikey Madison has officially taken home the Oscar for Best Actress, capping off an incredible awards season where she also won the Independent Spirit Award and the BAFTA. In a historic night, Anora dominated the Academy Awards, proving that its raw intensity and indie roots were no barrier to Hollywood’s top prize. Anora is the film with the lowest budget ever to win best picture.

Directed by Sean Baker, Anora is a striking commentary on wealth, power, and sex work—a clear reminder that, despite progress, it is still a man’s world. Baker, known for his 2015 iPhone-shot indie hit Tangerine, once again spotlights the lives of sex workers with unflinching realism and respect. His protagonist, Anora, or Ani as she prefers, is a New York City-based stripper and escort. Her grandmother never learned English, so she speaks a bit of Russian. When Ivan, the reckless, entitled son of a Russian oligarch, requests a dancer who speaks his language, Ani is the obvious match. Their chemistry is immediate, but their connection—like so many modern relationships—is built on performance and illusion.

Ani presents herself as confident and agreeable, masking the harsh realities of her profession with a well-practiced charm. Ivan, meanwhile, embodies unchecked privilege, approaching his surroundings—both in terms of people and places—as a limitless playground. Their relationship escalates when Ivan offers Ani $15,000 to be his girlfriend for a week—a transaction she negotiates matter-of-factly. As their dynamic deepens, the film peels back their façades. Ani is not just a seductress; she is a vulnerable young woman in pain. Ivan is not just a playboy; he is an impotent child lost in excess. Together, they expose the thin line between self-deception and survival.

As a therapist who works with many clients navigating modern dating, what makes Anora especially compelling is how it mirrors common challenges of real-world courtship. Beneath the film’s exaggerated scenario lies a universal truth: in early relationships, people often wear masks. Ani feigns enjoyment of bad sex. Ivan convinces himself he’s falling in love. Their self-delusions unravel when reality—in the form of Ivan’s furious parents—comes crashing into town.

I often remind clients that rushing into intimacy can cloud judgment. The modern dating landscape makes slow, intentional connection increasingly rare. Ani and Ivan’s memorable, marvelous, heartbreaking story serves as a cautionary tale. Their circumstances may be extreme, but the emotional risks they take are all too familiar. In the end, Anora forces audiences to confront uncomfortable truths—about power, relationships, and the transactional nature of desire.

With its Oscar triumph, Anora is no longer just a critical darling—it’s an undeniable cinematic milestone. And Madison’s fearless performance has been rightfully celebrated as one of the most unforgettable in recent memory.
If you are interested, check out my original version of this post – pre-oscars, on Psychology .Today