Our 2024 Oscar nominee double-feature (we’re only talking about two because we are chasing our bliss) continues with Anora, Sean Baker’s ode to class and sex work and the American dream. Where do we stand on that ending? Do we feel it’s respectful? Let’s find out.

Some Sources You Might Find Interesting:

Sean Baker on the politics in his films: “We’re telling stories that can be discussed by both sides” – LFF Screen Talk by Josh Slater-Williams

Anora Is a Raucous Good Time With a Gut-Punch of an Ending by Richard Lawson

Why Anora is the Disney Princess We Need by Broey Deschanel

Romance Labor: on Sean Baker’s Anora by Marla Cruz

Sean Baker’s Coldest Film by Taylor J. Williams

Does ‘Anora’ Get the World of Sex Work Right? One Stripper’s Analysis by Lily Burana

Heaux Joy by Risdon Roberts

Anora and the changing depiction of sex work in Hollywood by Jackson Weaver

Anora & The Myth of the Male Gaze by Jordan Theresa

ANORA: What Pretty Woman Was Afraid to Be by antiheroines

The Naked Humanity of Sean Baker by Richard Lawson

This Is Why Anora Won Best Picture (and others didn’t) by NT Was Here

Reassessing the Butt Shot: Feminism Versus Spectacle in The Substance and Anora by Caetlin Benson-Allott

The 24-Hour Working Girl by Ayanna Dozier

Prostitute homicides: a descriptive study by C Gabrielle Salfati, Alison R James, Lynn Ferguson

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