Анора (Anora)

[дважды два]

Наши слоны!  

[Marongos]

10 часов назад, New_Red написал:

анора не американка?

Она не успешная в итоге и с русской фамилией Михеева...Хотя если вспомнить "Красотку"

[MysteryMan]

Продолжаем отмечать-) 

[master_jet]

Мои родители смотрят сейчас...и поносят кинцо по-жёсткому. То неприятно (неприятный фильм) снято (то бишь много жести и негатива), что все герои такие не такие (Ваня не работает, ничего из себя не представляет, трахается, веселится, плевать на свою жену хотел и т.п.), то какие-то грузины-армяне в фильме, то гопники, колхозники, их бы уже давно арестовали, а происходящее - бред, ну и снял его по их мнению "какой-то долбо...". Нет никакого сюжета. Бред. Фильм для меня как они говорят. Хотя я - не поклонник фильма, он нормальный и не заслуживает того хейта, что они на него льют. Не всем дано быть киноэкспертами.

[drongoryachiy]

1 час назад, master_jet написал:

Мои родители смотрят сейчас...и поносят кинцо по-жёсткому. То неприятно (неприятный фильм) снято (то бишь много жести и негатива), что все герои такие не такие (Ваня не работает, ничего из себя не представляет, трахается, веселится, плевать на свою жену хотел и т.п.), то какие-то грузины-армяне в фильме, то гопники, колхозники, их бы уже давно арестовали, а происходящее - бред, ну и снял его по их мнению "какой-то долбо...". Нет никакого сюжета. Бред. Фильм для меня как они говорят. Хотя я - не поклонник фильма, он нормальный и не заслуживает того хейта, что они на него льют. Не всем дано быть киноэкспертами.

У меня мама, наоборот, хорошо её приняла, и вообще именно при втором просмотре фильма с ней я больше понял и принял это кино, заметил в нём многое, что не заметил в кинотеатре (например, действительно важную роль Борисова в истории). А вот с папой мы даже и не пробовали посмотреть Анору, давно знаем, что ему такие фильмы не заходят

[master_jet]

7 минут назад, drongoryachiy написал:

У меня мама

Моя ещё высказывала, что все слишком долго тянется, историю можно было по её мнению уместить в 40 минут. Хотя и признала, что история глубокая. То ли дело для неё "Красотка" - образцовое кино, там и хэппи-энд, и мужик богатый-работяга, и гопников нет. Эх, я ей недавно включил кино "Кислород" с Мелани Лоран, минут 10 посмотрела и говорит: "Она так и будет весь фильм в капсуле находиться?" Итог понятен: Гoвнo без продолжения просмотра. Эх, что за поколение дилетантов.

[WhiteOleander]

Хейт это тоже награда))))

Особенно после признанного успеха.

[WhiteOleander]

23 часа назад, ilya1809 написал:

В 03.03.2025 в 15:32, Tillman написал:

Шлюхи, идиоты и мелкие бандосы наверн дуреют с этой прикормки

А еще они балдеют с «Криминального чтива», ведь там о бандосах и даже об извращенцах. Или стрелка не поворачивается уже?)))

А ведь есть еще «Волки с Уолл-стрит», «Славные парни».От которух дуреют и тащатся исключительно бандосы.

От «1+1» дуреют с прикормки гопари с улицы и инвалиды.

В общем, очень интересные сочетания получаются. В «Шоушенке» дуреют с прикормки все бывшие зеки, которые не против проползти ручьям г...а. А от «Форреста Гампа» дуреют и тащатся дебилы с нарушениями мыслительного процесса)).

Логика — мое почтение))).

Оскара комментатору 

Не, им не понять)))

Белопальтовцы на фкп рулят.

[DandyAndy]

How ‘Anora’ Charmed Its Way to Oscar Gold

It was by far the buzziest title of this year’s awards season – even without a streaming release

Цитата

“Anora” took the Oscars by storm on Sunday, winning Best Picture, Best Director, Best Actress (for Mikey Madison), Best Editing and Best Original Screenplay. The contemporary story about a young sex worker (Madison) who falls in love with the son of a Russian oligarch had a fractured fairy tale message. And now it has its happily ever after.

 

But to those who had been paying attention, its big triumph felt like less of a surprise and more of a crescendo to a campaign that started almost a year ago and had finally reached its natural conclusion. What makes this particular success story so staggering is how deliberate and methodical it was, as distributor Neon closely followed its own playbook — one that led Bong Joon-ho’s “Parasite” to historic Oscar success five years ago. Add in a deliberate decision to keep “Anora” off of streaming for the duration of its awards run, and you get a path to Oscar glory.

 

Big beginnings

 

“Anora” debuted at the 2024 Cannes Film Festival on May 21 to a 10-minute standing ovation.

 

Neon, the company behind “Anatomy of a Fall,” “Parasite,” “Triangle of Sadness” and “Titane,” had acquired the rights to the indie in the fall of 2023. Four days after it premiered, it won the prestigious Palme d’Or – the top prize at the festival. This would be the fifth consecutive Palme d’Or winner that Neon would distribute in the United States. “We really led with our hearts for everything we watched,” 77th Cannes Film Festival Jury President Greta Gerwig said at the time. “There was something that reminded us of a classic, there were structures of Lubitsch and Howard Hawks. It did something truthful and unexpected.”

 

Director Sean Baker, who was renowned for his scrappy indies made on shoestring budgets that spoke to some larger, universal truth, had been a respected face on the festival circuit. Willem Dafoe earned an Oscar nomination for his role as an anxious hotel manager in his 2017 film “The Florida Project.”

 

“Watching a film with others in a movie theater is one of the great communal experiences,” Baker said when accepting the Cannes recognition, foreshadowing his eventual Oscar speech. “We share laughter, sorrow, anger, fear and hopefully have a catharsis with our friends and strangers. I say the future of cinema is where it started: in a movie theater.”

 

New York Magazine’s Vulture published a review by Bilge Ebiri out of the festival with the title, “It’s No Wonder Everybody Falls for ‘Anora.’” The movie also had the highest average rating of critics at the festival. The buzz had already started. Soon, it would become deafening.

 

Following the “Parasite” playbook

 

In some ways, Neon followed its own playbook closely, as the contours of the “Anora” rollout snugly mirrored the way that they had introduced Bong Joon-ho’s bizarre, blackly comic Korean-language “Parasite” just a few years earlier.

 

After Cannes, “Anora” played the major film festivals in the fall, including the Telluride Film Festival, Toronto International Film Festival and New York Film Festival, along with the BFI London Film Festival and Rome Film Festival, picking up further acclaim at each. They even made time to stop by the genre-heavy Fantastic Fest, in Austin, Texas, around the same time, which is one of the best places to watch a movie with an audience — something that “Parasite” also did. There were the customary Q&As and guild screenings, meet-and-greets and cocktail parties, too.

 

As the events persisted and more critics and voters actually saw the movie, the buzz also built appropriately. On Metacritic, the movie held an astronomical 91, with the less-discerning Rotten Tomatoes giving it a 93% based on 332 reviews.

 

When it finally opened Oct. 18, it played in just six locations. In 2019 “Parasite” opened on Oct. 11 in just one theater. By Oct. 25, “Anora” expanded to 34 theaters and its box office increased dramatically. It posted the best per-screen average of the year at $91,751, topping Searchlight’s “Kinds of Kindness” from that summer. And it continued to expand. Nov. 1 it was in 253 theaters. A week later it was in 1,104. At its peak, later in November, it was in 1,500 theaters. Slow and steady.

 

By the end of its theatrical run, it had made more than $41 million worldwide. Not bad for a movie whose budget was around $6 million.

 

Playing it cool

 

“Anora” hit digital platforms Dec. 17, while it was still in more than 200 theaters in North America. It should be double-underlined that the movie wasn’t available to stream on one of the many subscription-based platforms, but was only available for sale or to rent digitally (via Apple, Fandango at Home, Google, etc.).

 

In January, the Criterion Collection, the home video label “dedicated to publishing important classic and contemporary films from around the world in editions that offer the highest technical quality and award-winning, original supplements,” announced that “Anora” would be joining the collection. A couple of weeks before the announcement, Madison had visited the Criterion closet – the room full of movies at Criterion’s New York offices — in a video that racked up over 600,000 views. Now, her movie would be joining its ranks in a tricked-out deluxe 4K UHD edition.

 

The announcement that “Anora” would be joining the Criterion Collection caused much discussion online, in both the “for” and “against” camps (a worthy addition or too new to be deemed Criterion-level, depending on who you spoke to). But one thing is for sure – it generated attention and excitement during a crucial time in the awards run.

 

Some critics groups rallied around “Anora” in December, with the Los Angeles Critics Association calling it the best film of the year, but a surge in noise from contenders like “Emilia Pérez,” with 13 Oscar nominations, and “Conclave,” with eight, found prognosticators starting to doubt its frontrunner status. Would the increasingly international voting body of the Academy spark to the operatic nature of “Emilia Pérez?” Could a handsomely crafted thriller take the top prize like they used to back in the old days?

 

But Neon continued to play things slow and steady, doubling down on the passion the film’s fans had for its dark fairy tale. The widespread industry adoration for Baker’s charming indie was fully revealed when the Producers Guild, Writers Guild and Directors Guild all awarded their prizes to “Anora.” Heading into the Oscars, the film seem poised for Best Picture glory, but few predicted it would dominate so heavily, with Madison beating Demi Moore for Best Actress and Baker taking the Best Film Editing award that many had earmarked for “Conclave.”

 

The film also managed to stay above the fray when some of its chief rivals were being criticized on social media: “Emilia Pérez” when star Karla Sofía Gascón’s past racist and Islamophobic tweets were uncovered and circulated, essentially killing its Best Picture chances, and “The Brutalist” when its use of AI stirred up a minor furor.

 

Neon knew what it was doing – by making the movie somewhat harder to see than, say, “Emilia Pérez,” a Netflix original movie that debuted on the streaming service, it cultivated an air of exclusivity.

 

The morning after the Oscars, Hulu announced that “Anora” would be streaming on its platform on March 17, five months after the film first hit theaters — an unusually long theatrical window for movies from directors not named Christopher Nolan.

 

For his part, Baker used his Best Director Oscar speech to urge studios to prioritize the theatrical experience.

 

“Distributors, please focus first and foremost on the theatrical releases of your films,” he said, crediting Neon for doing so with his film. “This is my battle cry. Filmmakers, keep making films for the big screen. I know I will.”

 

As Baker left the stage, the buzz that accompanied the film when it premiered nearly a year ago was still there. And Baker, cradling four Academy Award statuettes throughout the night’s parties, was the belle of the ball.