Why I Couldn’t Wait to See It

When my friend Andrew Wonder messaged me from the Cannes Film Festival, I asked him if he’d seen Anora. He said it was beautifully made and deserved all the praise it was getting. That was enough to get me excited, but hearing that Sean Baker directed it, and that it was shot on 35mm anamorphic with an Arricam LT pretty much sealed it.

Sean Baker’s Track Record

If you’ve seen Tangerine, The Florida Project, or Red Rocket, you already know Sean Baker has a real gift for capturing the raw, human side of life. His characters are often people you don’t see centered in mainstream film, but they’re portrayed with so much empathy and humor that you can’t help but root for them.

Baker has a distinct style: natural light, sometimes handheld but often on a dolly or tripod, with a documentary-like intimacy, all grounded in real places and real stories. Anora keeps that spirit alive, but it’s shot in the most cinematic of formats, that brings a new layer of visual texture to his work.

Why the Cinematography Stands Out

Anora is an indie film shot on 35mm film in four-perf anamorphic, which already tells you a lot about the filmmakers' intent. That format gives you rich colors, real grain, and that beautiful oval bokeh and horizontal flares that only true anamorphic lenses can give you.

They used the Arricam LT, my personal favorite film camera ever, along with a set of LOMO Round Front Anamorphic lenses. This wasn’t my own TLS rehoused set, but a set owned by Arri Rental. It was especially cool to see them used here because I actually helped Arri Rental acquire that set of lenses when I was working there.

This isn’t a digital simulation of film, it’s the real thing, and you can feel it in every frame. The texture, the depth, the sense of place; it all adds up to a film that doesn’t just tell a story but immerses you in it.

A Personal Connection to the Gear

One of the coolest parts of watching Anora (for me at least) was knowing the history behind the lenses and the camera. The LOMO Round Front Anamorphics used on this film came from Arri Rental. It wasn’t my personal TLS rehoused set, but it’s a set I had a small hand in getting into their inventory.

Back when I was working at Arri Rental, a DP reached out to me asking if the company might be interested in buying his set of anamorphic lenses. I passed that suggestion up the chain, and the company ended up buying them. Those same lenses were later used on I Think We’re Alone Now, directed by Reed Morano and starring Elle Fanning and Peter Dinklage. That film also looked incredible. You can find it streaming on Amazon if you’re curious.

Seeing those lenses put to use again, especially in a film that feels so grounded in New York and shot on actual film, made it feel like everything came full circle. There’s something satisfying about knowing gear you had a small part in sourcing ends up in the hands of great filmmakers.

What Anora Feels Like

Watching Anora reminded me a bit of the Safdie Brothers' films. Something in the energy and pacing made me think of Good Time or Uncut Gems, and they all feel very much like New York movies. Anora has that same kind of urgency and grit, but it also has a lot of heart. Like all of Sean Baker’s films, it centers a character you might not expect, and by the end, you genuinely care about them.

There are moments that are funny, moments that feel chaotic, and others that are unexpectedly tender. The look of the film supports that energy. Shot on 35mm with anamorphic lenses, it has a grounded but elevated visual style. You're in New York, and it feels like New York - not a polished backdrop, but the real thing. Crowded, vibrant, a little raw, and full of character.

Visually, it’s beautiful. The film grain, the rich colors, and those wide anamorphic frames give the movie a cinematic quality that really pulls you in. You can tell the director and DP had a clear vision, and they brought it to life with confidence.

Final Thoughts

If you’re into film, Anora is worth seeing for the cinematography alone. But even beyond how it looks, it’s just a great movie. It’s funny, emotional, and grounded in real human experience.

Sean Baker has a way of telling stories that feel personal without being sentimental. This one’s no exception. The performances are strong, the pacing keeps you engaged, and the visuals elevate everything without getting in the way.

I really think they nailed the look and feel they were going for. It’s one of those movies that makes you excited about what filmmaking can be. Definitely one to check out.

Thanks for Reading

We’ll be posting more write-ups like this, along with behind-the-scenes looks at gear, lenses, and the kinds of projects that get us excited to work in this industry.

If you’re into vintage lenses, 35mm film, or just great storytelling, stick around. And if you ever want to shoot with a set of LOMO Round Front Anamorphics yourself, feel free to reach out.