Times & Tickets
Anora - NZIFF Special Preview Screening at Roxy Cinema
Anora - NZIFF Special Preview Screening
WED 18 DEC
Coming Soon to
Roxy Cinema
When a Brighton Beach stripper (Mikey Madison in a star-making turn) is swept up in a whirlwind romance with an obscenely wealthy customer, it seems like a Cinderella story come true—until her new beau’s Russian-oligarch parents get wind of the relationship. Thrilling, brash, and unpredictable, this 21st-century screwball comedy from the director of The Florida Project won the Palme d’Or at the 2024 Cannes Film Festival.
“The uncut gem of this year’s Cannes competition, Anora is a rowdy Safdie-style movie about two cultures (Russian and American), two languages (Russian and English) and two currencies (money and sex). Like countless Hollywood fantasies that have come before, it tells the story of how young people from different worlds fall in love, run into immediate obstacles and deal with the consequences – except the couple in this case consists of a New York stripper and the reckless son of a Russian oligarch. How long would you give it?
Baker’s subversively romantic, free-wheeling sex farce makes Pretty Woman look like a Disney movie. It follows on the (knee-high boot) heels of four other films in which Baker centered the experience of sex workers – from porn stars to prostitutes – and refashions their best aspects into a compulsively entertaining, 80-proof emotional ride.” — Peter Deburge, Variety
“Mikey Madison is a revelation as Anora, a feisty exotic dancer and sometime escort who, after a whirlwind week of partying, finds herself married to Ivan (Mark Eydelshteyn) the son of a Russian oligarch. But wedded bliss is abruptly curtailed when Ivan’s father’s harassed factotum Toros (Karren Karagulian) arrives with orders to impose an annulment. Ivan promptly scarpers. And Anora is left to fight tooth and fake nails for the marriage that she still half believes is grounded in real love…
Baker continually ups the ante on the picture’s unruly humour and propulsive pacing. The headlong, no-brakes approach to storytelling will likely be familiar to fans of Baker’s other pictures… But this kick-ass Cinderella story has its own distinctive flavour and appeal, much of which comes from the personality of the city in which the story is predominantly set.” — Wendy Ide, Screendaily
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“The uncut gem of this year’s Cannes competition, Anora is a rowdy Safdie-style movie about two cultures (Russian and American), two languages (Russian and English) and two currencies (money and sex). Like countless Hollywood fantasies that have come before, it tells the story of how young people from different worlds fall in love, run into immediate obstacles and deal with the consequences – except the couple in this case consists of a New York stripper and the reckless son of a Russian oligarch. How long would you give it?
Baker’s subversively romantic, free-wheeling sex farce makes Pretty Woman look like a Disney movie. It follows on the (knee-high boot) heels of four other films in which Baker centered the experience of sex workers – from porn stars to prostitutes – and refashions their best aspects into a compulsively entertaining, 80-proof emotional ride.” — Peter Deburge, Variety
“Mikey Madison is a revelation as Anora, a feisty exotic dancer and sometime escort who, after a whirlwind week of partying, finds herself married to Ivan (Mark Eydelshteyn) the son of a Russian oligarch. But wedded bliss is abruptly curtailed when Ivan’s father’s harassed factotum Toros (Karren Karagulian) arrives with orders to impose an annulment. Ivan promptly scarpers. And Anora is left to fight tooth and fake nails for the marriage that she still half believes is grounded in real love…
Baker continually ups the ante on the picture’s unruly humour and propulsive pacing. The headlong, no-brakes approach to storytelling will likely be familiar to fans of Baker’s other pictures… But this kick-ass Cinderella story has its own distinctive flavour and appeal, much of which comes from the personality of the city in which the story is predominantly set.” — Wendy Ide, Screendaily
When a Brighton Beach stripper (Mikey Madison in a star-making turn) is swept up in a whirlwind romance with an obscenely wealthy customer, it seems like a Cinderella story come true—until her new beau’s Russian-oligarch parents get wind of the relationship. Thrilling, brash, and unpredictable, this 21st-century screwball comedy from the director of The Florida Project won the Palme d’Or at the 2024 Cannes Film Festival.
“The uncut gem of this year’s Cannes competition, Anora is a rowdy Safdie-style movie about two cultures (Russian and American), two languages (Russian and English) and two currencies (money and sex). Like countless Hollywood fantasies that have come before, it tells the story of how young people from different worlds fall in love, run into immediate obstacles and deal with the consequences – except the couple in this case consists of a New York stripper and the reckless son of a Russian oligarch. How long would you give it?
Baker’s subversively romantic, free-wheeling sex farce makes Pretty Woman look like a Disney movie. It follows on the (knee-high boot) heels of four other films in which Baker centered the experience of sex workers – from porn stars to prostitutes – and refashions their best aspects into a compulsively entertaining, 80-proof emotional ride.” — Peter Deburge, Variety
“Mikey Madison is a revelation as Anora, a feisty exotic dancer and sometime escort who, after a whirlwind week of partying, finds herself married to Ivan (Mark Eydelshteyn) the son of a Russian oligarch. But wedded bliss is abruptly curtailed when Ivan’s father’s harassed factotum Toros (Karren Karagulian) arrives with orders to impose an annulment. Ivan promptly scarpers. And Anora is left to fight tooth and fake nails for the marriage that she still half believes is grounded in real love…
Baker continually ups the ante on the picture’s unruly humour and propulsive pacing. The headlong, no-brakes approach to storytelling will likely be familiar to fans of Baker’s other pictures… But this kick-ass Cinderella story has its own distinctive flavour and appeal, much of which comes from the personality of the city in which the story is predominantly set.” — Wendy Ide, Screendaily
“The uncut gem of this year’s Cannes competition, Anora is a rowdy Safdie-style movie about two cultures (Russian and American), two languages (Russian and English) and two currencies (money and sex). Like countless Hollywood fantasies that have come before, it tells the story of how young people from different worlds fall in love, run into immediate obstacles and deal with the consequences – except the couple in this case consists of a New York stripper and the reckless son of a Russian oligarch. How long would you give it?
Baker’s subversively romantic, free-wheeling sex farce makes Pretty Woman look like a Disney movie. It follows on the (knee-high boot) heels of four other films in which Baker centered the experience of sex workers – from porn stars to prostitutes – and refashions their best aspects into a compulsively entertaining, 80-proof emotional ride.” — Peter Deburge, Variety
“Mikey Madison is a revelation as Anora, a feisty exotic dancer and sometime escort who, after a whirlwind week of partying, finds herself married to Ivan (Mark Eydelshteyn) the son of a Russian oligarch. But wedded bliss is abruptly curtailed when Ivan’s father’s harassed factotum Toros (Karren Karagulian) arrives with orders to impose an annulment. Ivan promptly scarpers. And Anora is left to fight tooth and fake nails for the marriage that she still half believes is grounded in real love…
Baker continually ups the ante on the picture’s unruly humour and propulsive pacing. The headlong, no-brakes approach to storytelling will likely be familiar to fans of Baker’s other pictures… But this kick-ass Cinderella story has its own distinctive flavour and appeal, much of which comes from the personality of the city in which the story is predominantly set.” — Wendy Ide, Screendaily
Anora - NZIFF Special Preview Screening
WED 18 DEC
Coming Soon to
Roxy Cinema
When a Brighton Beach stripper (Mikey Madison in a star-making turn) is swept up in a whirlwind romance with an obscenely wealthy customer, it seems like a Cinderella story come true—until her new beau’s Russian-oligarch parents get wind of the relationship. Thrilling, brash, and unpredictable, this 21st-century screwball comedy from the director of The Florida Project won the Palme d’Or at the 2024 Cannes Film Festival.
“The uncut gem of this year’s Cannes competition, Anora is a rowdy Safdie-style movie about two cultures (Russian and American), two languages (Russian and English) and two currencies (money and sex). Like countless Hollywood fantasies that have come before, it tells the story of how young people from different worlds fall in love, run into immediate obstacles and deal with the consequences – except the couple in this case consists of a New York stripper and the reckless son of a Russian oligarch. How long would you give it?
Baker’s subversively romantic, free-wheeling sex farce makes Pretty Woman look like a Disney movie. It follows on the (knee-high boot) heels of four other films in which Baker centered the experience of sex workers – from porn stars to prostitutes – and refashions their best aspects into a compulsively entertaining, 80-proof emotional ride.” — Peter Deburge, Variety
“Mikey Madison is a revelation as Anora, a feisty exotic dancer and sometime escort who, after a whirlwind week of partying, finds herself married to Ivan (Mark Eydelshteyn) the son of a Russian oligarch. But wedded bliss is abruptly curtailed when Ivan’s father’s harassed factotum Toros (Karren Karagulian) arrives with orders to impose an annulment. Ivan promptly scarpers. And Anora is left to fight tooth and fake nails for the marriage that she still half believes is grounded in real love…
Baker continually ups the ante on the picture’s unruly humour and propulsive pacing. The headlong, no-brakes approach to storytelling will likely be familiar to fans of Baker’s other pictures… But this kick-ass Cinderella story has its own distinctive flavour and appeal, much of which comes from the personality of the city in which the story is predominantly set.” — Wendy Ide, Screendaily
