Anora and Conclave: sticking the landing

“Anora” and “Conclave” are both movies that are technically flawless- they both tell riveting stories and are remarkably well-executed. Up until the last few minutes, I was impressed, but my heart wasn’t in it. But by the end, I was in tears. Entertaining, thought-provoking and evocative? Now that’s a good movie.

I still don’t know if “Conclave” hits different for Catholics and non-Catholics. I was raised Catholic and attended mass every Sunday. I know that black smoke indicates that the conclave hasn’t voted on a new pope yet but that white smoke means a new pope has been chosen. But I’d also say that “Conclave” is appealing as a political thriller, showing machinations for power behind closed doors. Surprise- it’s not all that different whether in D.C. or the Vatican. Votes are cast, sides are taken, then quickly realigned after old information is brought to light. Things happen quickly, and Edward Berger is careful with both his direction and script to not cast anyone as entirely hero or villain (Stanely Tucci also makes sure of this). Ralph Fiennes shines as the bishop leading the conclave. He also comes to embody a central theme of the film (a central theme to all theistic religions), which is doubt. He implores the cardinals to embrace uncertainty as they make their choice. And, at the end, a candidate is chosen who best embodies-literally- uncertainty and embrace of one’s calling. The final scene produced an audible gasp when I saw it in theaters.

Sean Baker is a filmmaker whose films feel almost like documentaries. “The Florida Project” was a brutal look at people living on the margins of DisneyWorld, the happiest place on Earth. And so “Anora” treads similar ground, showing Annie, a young woman hustling as an exotic dancer in the wealthiest place on Earth and returning home each morning to a bedroom in a small house she shares with her sister. The first half of the story shows the whirlwind romance of Annie and Vanya, the failson of a Russian oligarch who impulsively proposes, in a bid to gain U.S. citizenship.The second half of the film is where things get very interesting, as Vanya’s family sics their goons on him to annul the marriage- but first they have to find Vanya, who’s run away just as impulsively as he proposed. So it becomes a chase across Brighton Beach, the little Russia of Brooklyn. Baker films everything with the propulsiveness of a thriller- where will Vanya be found, and when, and by whom? At the heart of the story is the title character, brilliantly played by Mikey Madison. She has scenes where she gets to shout and play big emotions. But in the final scene, once the whirlwind of the last week has calmed down, we see her in a quiet moment of vulnerability. It’s gutting, and it’s why “Anora” is elevated from madcap chase film to greatness (due also to the subtle acting of Yura Borisov).

Sticking the landing is so important- it’s the difference between good movies and great ones. It’s what takes “Conclave” and “Anora” from good to great.