Towards the end, awareness comes into play, or something happens and the flow of life is rethought—as is general in Baker's cinema. Thanks to this inclination of the director, Anora is a good film. This time, though, it is a more eventful film, and the screenplay tries to get through this by the methods of Zola and Uncut Gems. No need for a better formation of this similar action, but that it turns out barely in tempo here is disappointing. This was not the case before; in his previous films, characters and their surroundings were revealed in subtle details. Finally, the film arrives at the "awareness" part, and that was the part that made the film. With the snow, a Ceylan-esque questioning embalms the film; we are left with its eternal sorrow.