Sean Baker’s Anora drew an exceptionally enthusiastic reception at the 77th Cannes Film Festival, earning a 7.5-minute standing ovation as soon as it premiered. This strong response was noted by Variety, reflecting the momentum that surrounded the film from the moment it rolled onto the Croisette. The audience stayed engaged for the full duration of the screening, reacting with sustained applause at multiple intervals and creating a palpable sense of anticipation for what Baker offers to international cinema.
The narrative centers on a Brooklyn-based sex worker whose life takes an unexpected turn when she marries Vanya, the son of a powerful Russian oligarch. The plot unfolds through the eyes of a young wife who must navigate the social rituals, family expectations, and cultural tensions that accompany a union between disparate worlds. As the couple’s status grows, the couple’s new in-laws—aware of the bride’s origins—face difficult questions about loyalty, ambition, and the price of upward mobility. The film uses intimate character studies and sharp social observation to explore themes of class, power, and the compromises that come with desire.
Among the cast, notable Russian performers appear in key roles, with Eidelstein portraying Vanya and contributing a strong, nuanced performance that anchors the film’s dramatic arc. The ensemble also features Borisov and Ekamasova in supporting parts, enriching the texture of the story with their distinctive gravitas and on-screen presence. The film’s male lead is central to the tension that threads the entire two-hour experience, delivering a portrayal that is both conflicted and compelling, underscoring the complexities of family dynasty and personal choice.
As reported by Variety, the audience’s response extended well beyond the opening moments, with applause punctuating scenes throughout the film’s running time. The reception reflected a engagement that persisted from the opening frame to the closing credits, signaling strong critical interest and a favorable initial impression from festivalgoers who arrived with diverse expectations for contemporary American and international cinema.
May marked the start of the festival, a period when the event invites a global crowd to engage with premieres that set the tone for the cinematic year. The festival continued for several days, drawing industry professionals, critics, and fans who align on the importance of high-caliber storytelling and bold artistic choices. The roster of screenings and red carpet appearances underscored Cannes’ role as a showcase for both established auteurs and emerging talents seeking to capture international attention in a crowded market.
Within the festival’s broader program, Kirill Serebrennikov’s project titled Limonov, Eddie’s Song drew particular attention as well. The film delves into the life of the controversial writer Eduard Limonov, with critical discussions focusing on how the director translates a tumultuous literary figure to the screen. Observers described the work as a bold, confident entry that some regard as Serebrennikov’s most accomplished piece to date, inviting debate about its stylistic risks and narrative scope.
Meanwhile, a prior report noted that a prominent agency founder addressed public speculation about a major concert event in Moscow, signaling how festival conversations often intersect with broader pop culture moments. The exchange highlighted how industry voices, creative projects, and media narratives weave together in the lead-up to festival weeks, shaping expectations and outward perceptions for audiences around the world.