Why Anora is the Disney Princess We Need

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People were unhappy with the ending of Anora. Here's why I disagree!

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edited by ‪@BenFromCanada‬
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SOURCES:

Siddhant Adlakha, “How Sean Baker Crafted a Neon-Lit Fairy Tale in ‘Anora’” Backstage (2024).

Richard Brody, “Anora is More For Show Than Substance,” The New Yorker (2024).

Justin Chang, “Anora” Is a Strip-Club Cinderella Story—and a Farce to Be Reckoned With” The New Yorker (2024).

Jordan Cronk, “Interview: Sean Baker” Film Comment (2015).

Angela Dalle Vacche, “American Neorealism? Sean Baker’s The Florida Project” Cinergie. N.13 (2018).

Sarah Marshall, “The Magical Kingdom: The dark side of the Disney dream” The Baffler (2019).

Richard Porton, “Life on the Margins: An Interview With Sean Baker,” Cinéaste, Vol. 43, No. 1 (2017).

Scott Roxborough, “Making of ‘Anora’: How Sean Baker Turns the Rom-Com on Its Head” The Hollywood Reporter (2024).

Jackson Weaver, “Anora and the changing depiction of sex work in Hollywood,” CBC, (2024).

Jack Zipes, “The Changing Function of the Fairy Tale,” The Lion and the Unicorn, Volume 12, No. 2 (1988).

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