In Anora, a determined young woman involved in the sex industry finds herself in a modern-day Cinderella story. Anora, also known as Ani, portrayed with intense energy by Mikey Madison, becomes romantically involved with a wealthy young man (Mark Eidelstein), the pampered son of a Russian oligarch with connections to the mob. Their whirlwind romance sets off a chain of chaotic events in Manhattan, Brighton Beach, and Coney Island.
The film, written and directed by Sean Baker of “Tangerine” and “The Florida Project” fame, is a wildly entertaining and poignant screwball comedy that draws inspiration from the works of Preston Sturges and Federico Fellini. Baker, much like those filmmakers, has a keen understanding of class and economics, acknowledging that love and romance, despite their joys and sorrows, involve a certain level of transaction. However, to make these stories truly resonate and feel authentic, Baker has looked to sex workers for insights.
“He seeks to engage the community, rather than other us,” said Andrea Werhun, a writer and performer based in Toronto who is known for her sex work memoir “Modern Whore”. Werhun, who also worked as a consultant on the film, provided valuable input on the script and Madison’s remarkable performance, offering firsthand details that Baker incorporated into the movie. This collaboration has propelled “Anora” into the spotlight as a major Oscar contender following its Palme d’Or win at the Cannes film festival this year. When accepting the award, Baker dedicated it “to all sex workers, past, present, and future”.
Sex work is a recurring theme in Baker’s films: it serves as a unifying factor for the vibrant women in “Tangerine”, a poignant element in the life of a single mother in “The Florida Project”, and a side hustle in “Red Rocket”, a character study set in a working-class environment in Texas. Instead of focusing solely on the victimization or vilification of sex workers, Baker’s movies explore the full range of emotions that come with being human. He captures a nuanced and sensitive portrayal by collaborating with the individuals his films depict.
“That’s why his work truly resonates with sex workers,” Werhun remarked. “We feel acknowledged by the effort he puts in. He always uncovers the human element. He always finds the humor in the story, which plays a crucial role in humanizing people, especially those who are marginalized. Finding the humor in a story is incredibly powerful.”
Similar to Baker, Werhun uses comedy to convey her message, both in her conversations and her artistic endeavors. In her work, she often embodies a seductive persona with a touch of satirical awareness, occasionally channeling her inner Jim Carrey with exaggerated facial expressions. Her humor shines through in “Modern Whore”, where she provides sharp insights into clients and societal attitudes toward the oldest profession in the world. By infusing humor into her narratives, Werhun manages to address serious issues without losing sight of their underlying tragedy.
As we chat, Werhun is on the set of the “Modern Whore” movie in Toronto, where she plays a version of herself. The film, directed by Nicole Bazuin and executive produced by Baker, blends documentary elements with dramatic re-enactments, presenting excerpts from Werhun’s memoir through a genre lens. By portraying herself as a femme fatale or a “hooker with a heart of gold”, Werhun challenges cinematic stereotypes.
“Modern Whore”, both the book and the film, explores the interplay between genre and reality, fantasy and the labor involved in creating illusions. This theme is also present in “Anora”. When Ani is at work, providing lap dances and negotiating payments, her exceptional customer service blurs the lines of transactionality, creating an illusion of intimacy. However, beneath the performance lies the mundane reality of labor.
“Anora” highlights the labor involved in the sex industry, offering detailed insights into the routines, shifts, and even the everyday items like Tupperware that Ani uses during her work. Werhun reveals her contribution to the film, sharing, “Sean asked me what one might see in a strip club locker room, and I mentioned a dancer eating dinner out of Tupperware during her break. He loved that detail!”
Many aspects of “Anora” resonate with Werhun’s experiences as shared in her memoir. The supportive camaraderie among colleagues at the strip club, the complex dynamics with clients, and the feelings of betrayal when loyalty is questioned all mirror the authenticity shaped by community input. Her narrative reflects a broader shift in the portrayal of sex workers.
Over the past decade since “Tangerine”, significant strides have been made in how sex workers are represented in media. Figures like Cardi B have transitioned from the strip club to mainstream success, while sex workers have been reclaiming their narratives on social platforms. Recent films, including the Oscar-winning “Poor Things”, offer more enlightened perspectives on sex work. Now, sex workers are not only advising on films like “Anora” but also creating their own projects.
“I believe it’s a natural progression,” Werhun stated. “When non-sex workers create films that humanize us, it opens doors for sex worker creators to produce work at a similar level.”
“One of the most powerful things an ally can do is provide those opportunities.”
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