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By Susan Bordo | Sean Baker’s Anora invites our capacities for feelings, not judgment, to accompany one young, female sex worker through a few roller-coaster, genre-defying weeks in her life. Like all of Sean Baker’s films, it refuses an ending that tells us what to think. It doesn’t tie things up and lead us to a morally unambiguous conclusion but to the perfect, emotionally right one. And the magic of it is that it does it without much being said.
While the comic parts of the movie, like classic screwball comedies, are full of characters whose talk bumps into each other, jostling for our attention and laughter, the last movement has hardly any dialogue at all. And it will stay with you for a long time.
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