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Baker obviously loves most of his characters, and while Anora doesn’t necessarily give off warmth... it regards the entire situation with nonjudgmental good humor and a touch of melancholy.

Trafficking in sleaze and quasi-exploitation as has increasingly become his wheelhouse, Baker still hits certain almost-profound beats, even as the movie features a little too much reckless mayhem to fully resonate beyond the amusing plot machinations.

“Anora” is boundlessly alive with a quality we’ve seen continually in the movies of Baker, among the most humanist filmmakers working today. There is joy next to sadness. There is comedy inside a tragedy.

It’s [the film's] hybridization of style and substance that makes [Anora] that much more impressive, and for a filmmaker wearing more than a normal share of hats (director, producer, screenwriter, editor), there’s a wonderful coherence during even the most chaotic moments.

[Ani's] quixotic quest to remain among Russian oligarchs is a riotously funny neorealist farce that will be familiar to fans of Tangerine and Red Rocket, though at times it feels like the rougher edges of Baker’s vision have been smoothed out in the interest of driving home an easily digestible allegory.

Baker's films are often intent on humanizing sex workers and reminding audiences that sex work is work, period. Work that, in the filmmaker's opinion, should be decriminalized and understood as a job like any other. Here, he makes an earnest plea for their right to dignity.

It’s the combination of his insight and the unforgettable performances of Mikey Madison, Mark Eydelshteyn, and Yura Borisov that make [Anora] all seem like once-in-a-lifetime magic. Baker cuts straight to the feeling – and because of his fearless filmmaking, this career-best film, in all its crushing and chaotic glory, demands to be felt.

A fantastic... screwball-tragicomedy... By turns swoony, funny, panicky and sad, this is the director’s most vivid creation yet.

[Anora] has an infectious, freewheeling energy that feels like a high-concept comedy that’s gone wonderfully off the rails. It could be 21st century screwball... But there’s also a growing network of glances throughout Anora that places it in another tradition. It’s a film about exploitation and labor.

Anora fizzes with energy and laugh-out-loud moments, but it isn't recommended for anyone with high blood pressure. It builds into the kind of hectic farce in which not just one person is stressed: everyone is stressed.

Another vibrant and hilarious tale of subcultural hustling from Sean Baker... A wonderful movie from one of the world’s best independent directors.

Seán Baker, the most entertaining chronicler of contemporary degeneracy, has miraculously resurrected the screwball comedy. Nobody in this riotous movie says hallelujah: they are far too busy swearing and shouting at the breakneck pace of His Girl Friday.