In our Oscar run this week, we discuss different nominees, peeking behind the scenes. It’s a wild mix, to be fair: from epic science-fiction “Dune: Part Two” to an unsettling yet poetic remake of classic horror “Nosferatu.” Even so, there is one movie we’re about to take a look at that stands out completely. Namely, “Anora” – Sean Baker’s wild fairy tale of our time, set in Brighton Beach (a Russian-American neighborhood in Brooklyn). Not only does the film’s story revolve around post-Soviet society in the USA, but also its look & feel have a rather heartfelt nostalgia to it. Let’s explore the vibes of “Anora” and how they were achieved through locations, camera language, and “controlled chaos” in blocking. For someone who was born in Russia or the USSR (like myself), this film opens a direct door to a familiar, long-forgotten world. There are several reasons why it works. Of course, half of the cast are either Russians or Armenians, the dialogues mix the languages, the story features classic (not to say “cliché”) character types from Russia like oligarchs and “gopnics”, and we all know that chosen locations have definite Soviet vibes. Yet it’s not only this. Cinematography also plays a huge role in crafting the vibes of “Anora.” And does so brilliantly, even on a low budget (compared to what some Hollywood films or Netflix series cost). I guess I’m not the only one who got caught by the feelings “Anora” evokes. The indie movie won the Palm...
Published By: CineD - Today