Accidentally Abolitionist: Why radfems should watch 'Anora' (and will like it)

A response to Rowan Davis

I’m writing this response to Rowan Davis I'm not watching 'Anora' as a post due to the word limit on notes and comments.

As an avid critic-sans-consumption and fellow picky eater, I respect Davis’ no-watch-yes-critique approach to one of the best films I’ve ever watched (and re-watched, thrice now). Baker’s known pro-“sex-worker” stance, the trailer, and the film’s early acclaim inspired the same pre-watch critical reserve from my staunchly anti-prostitution (and anti “sex-work” ideology) self. Yet, I would like to strongly encourage her, and anyone who (1) likes films and (2) has any interest in prostitution and/or political economy to watch it.

Despite what its director, producer, cast, and crew have proclaimed throughout its promotion, Anora is not pro-“sex-work” propaganda. It is a manifestly Marxist film, anti "sex-work”, yet pro "sex-worker". Through this mega-entertaining, masterful, and beautiful film, Baker submits a poignant critique of our economic and cultural order, the falsehood of the "American dream", and the vampirisation, cannibalisation, and shunning of those at the bottom of the economic pyramid. The film portrays its main character, a young stripper-prostitute, as the paragon of the exploited, alienated neoliberal (female) “worker”, an indirect and direct victim of the system’s (male) winners.

The film is unequivocally critical of "sex work" (read: paid-for sex), which it portrays as mechanical, crass, hard on the body and the soul, alienating... Sean Baker's portrayal of prostitution seems one thought away from abolitionism. See: Ani and Lulu's conversation whilst on a cig break, Ani's private "stripper dance" for Vanya in his house... It is certainly not glamourising, nor is it kind to the "demand side".

To Rowan’s comments on the opening scene: I thought it was subversively anti-pornographic. Yes, it’s an explicit and aestheticised lap-dance scene. The camera-as-viewer’s gaze departs from a depersonalised lineup of “exotic dancers” in which the men (along with us, the viewers) sit-and-consume the beautiful, young bodies before them(us) as products.

Yet, this “porn gaze” shrewdly shifts from Madison’s seemingly headless, expertly contorting body to her face, focussing on her eyes, closed into a realm of impenetrable subjectivity. Ani’s self-enclosure is a clever (and possibly unintentional) foreshadowing of this film’s powerful ending, in which Igor’s humanising and tender treatment finally punctures the shield behind which Ani, the person, can exist.

Whilst Ani mechanically (and proudly) reproduces the dance that turns her body, youth, and sexuality into a product, Baker severs the viewer’s gaze from that of the client/punter, confronting us with the main character’s inherent and not-for-sale personhood, which “sex-workers” must fight to retain, often through dissociation.

So, if you’re avoiding ‘Anora’ due to annoyance/anger/disdain at the prevailing pro-prostitution, “renting one’s body can be cool, empowering, and good, actually” discourse around it, you’ve got someone-on-the-internet’s encouragement to watch & enjoy it. It’s freakin amazing.