Red Scare Podcast Episode Summary: "Annora"
Episode Details:
- Title: Annora
- Release Date: March 10, 2025
- Hosts: Anna Khachiyan and Dasha Nekrasova
Introduction and Initial Thoughts
[00:24 - 01:33]
The episode kicks off with Anna and Dasha humorously describing themselves as "lifeless lesbians" returning to the airwaves. They discuss their low energy levels due to various personal activities, including Anna observing Lent.
Dasha Nekrasova [00:24]: "We're so back. We're back. A couple of lifeless lesbians back on the air."
Revisiting "Annora": Resistance and Expectations
[01:33 - 02:50]
The hosts introduce their focus for the episode: reviewing the film "Annora" by Sean Baker. Dasha expresses initial resistance to reviewing the film, citing personal connections and a desire for honesty without bias.
Dasha Nekrasova [02:24]: "I don't feel like sometimes I ... want them to cast me. Not even just, like. Because it doesn't feel like."
Anna echoes this sentiment, highlighting the challenge of providing an unbiased review when feeling obligated by loyalty.
Anna Khachiyan [03:10]: "I had some weird Freudian resistance ..."
"Annora" and Its Oscar Sweep
[04:19 - 07:39]
"Annora" garners significant attention by sweeping several Oscar categories, including Best Picture, Best Director, Best Editing, and Best Actress. Anna and Dasha delve into the implications of this achievement, discussing how it signals a return to successful indie filmmaking without pandering to political correctness.
Anna Khachiyan [06:40]: "... he's the bad cop."
Dasha Nekrasova [07:07]: "It was good."
They also touch on political aspects, referencing Trump's speeches and critiques of the Democratic response, using these to frame their analysis of the film's success within the broader cultural landscape.
Cultural Depictions and Ethnic Stereotypes
[07:39 - 17:15]
A substantial portion of the discussion centers on the portrayal of Russian characters in "Annora." Anna criticizes the film for its stereotypical depiction of Russian gangsters, arguing that it relies on clichés rather than nuanced character development.
Anna Khachiyan [05:07]: "He wanted to be famous?"
Dasha and Anna debate the authenticity of accents and cultural references, noting inconsistencies and inaccuracies that detract from the film's credibility. They also compare these portrayals to other media, such as "Uncut Gems" and "White Lotus," highlighting recurring patterns in depicting Russian and Armenian characters.
Dasha Nekrasova [14:28]: "Sedentary migrants?"
Critical Reception and Op-Ed Analysis
[26:31 - 32:27]
The hosts examine a New York Times op-ed by Michael Edolph, who praises "Annora" as the best movie of the year but criticizes it for not explicitly denouncing Putinism. Anna and Dasha discuss the tension between artistic integrity and political responsibility, debating whether filmmakers should use their platforms to address geopolitical issues directly.
Michael Edolph [27:35]: "... no such thing as a neutral actor or an apolitical film."
They argue that while the film succeeds artistically, it falls short in leveraging its success for political statements, reflecting broader debates about the role of art in society.
Portrayal of Sex Work and Intimacy Coordination
[43:35 - 94:58]
"Annora" sparks discussions about the depiction of sex work, with some critics accusing it of glamorization while others view it as a realistic portrayal. Anna and Dasha analyze these perspectives, agreeing that the film strikes a balance between bleakness and exuberance, offering a nuanced view of survivalist sex work.
Dasha Nekrasova [46:37]: "It’s a realistic depiction of sex work ..."
The conversation shifts to the topic of intimacy coordinators in filmmaking. The hosts express strong opinions against them, likening their presence to administrative bloat and criticizing their interference in the creative process.
Anna Khachiyan [89:11]: "They're the dei. ... preposterous that people even have to hire them."
They share personal anecdotes about their experiences with intimacy coordinators, reinforcing their stance that such roles are unnecessary and intrusive.
Comparative Analysis with Other Films
[95:01 - 107:46]
Anna and Dasha compare "Annora" to other acclaimed films like "Uncut Gems," highlighting differences in narrative structure and character development. They praise "Annora" for its emotional depth and ambiguity in relationships, contrasting it with the more straightforward, high-stakes tension of "Uncut Gems."
Anna Khachiyan [70:13]: "I think the major fault of this movie is that it pretends to give the audience credit but really kind of condescends to them."
The discussion extends to Oscar-winning performances, particularly Mikey Madison's role in "Annora," examining how her portrayal adds complexity to the film's narrative.
Final Thoughts and Future Implications
[107:46 - 116:09]
In wrapping up, the hosts reflect on the cultural significance of "Annora's" success at the Oscars. They consider the pressures faced by indie filmmakers like Sean Baker after such a sweep, emphasizing the need for continued originality and resistance to mainstream pressures.
Anna Khachiyan [114:17]: "But I think the fact that it was even made and that it then went on to sweep all the awards is just such a ..."
They conclude by affirming their support for indie films that maintain artistic integrity and express hope that "Annora's" success will inspire more authentic and diverse storytelling in Hollywood.
Dasha Nekrasova [116:00]: "It’s okay. You asked for it."
Notable Quotes
- Dasha Nekrasova [02:36]: "I can't gas your movie up on my show. Even though Spree's great. You should all go see it."
- Anna Khachiyan [03:38]: "It's kinda like, Russian porn where the girl's like, oi, oy, da."
- Dasha Nekrasova [14:28]: "Sedentary migrants?"
- Anna Khachiyan [27:35]: "He did see untold horrors."
- Dasha Nekrasova [44:52]: "You're so gay."
Conclusion
In this episode, Anna Khachiyan and Dasha Nekrasova provide a comprehensive and critical analysis of Sean Baker's film "Annora," exploring its cultural depictions, narrative structure, and impact on the indie film landscape. Through engaging dialogue and sharp critique, they offer listeners a deep dive into the film's strengths and shortcomings, framing it within broader discussions about art, politics, and representation in contemporary cinema.