Box office Anora grossed $20.5million in the United States and Canada, and $38.8million in other territories, for a worldwide total of $59.3million. Expanding to 34 theaters in its second weekend, the film made $908,830 and finished in eighth place. Continuing its expansion, the film made $1.8million from 253 theaters and $2.5million from 1,104 in its third and fourth weekends. In its 21st week of release in March, following its five Oscar wins, the film was added to 1,130 theaters (for a total of 1,938) and made $1.8million (an increase of 574% from the previous week), finishing in seventh.
Critical response On
AlloCiné, the film received an average rating of 4.2 out of 5, based on 45 reviews, from French critics.
Greta Gerwig, serving as the president of the
77th Cannes Film Festival Jury, commented that "[
Anora] was something we collectively felt we were transported by, we were moved by [...] It felt both new and in conversation with older forms of cinema. There was something about it that reminded us of [the] classic structures of
Lubitsch or
Howard Hawks, and then it did something completely truthful and unexpected."
Richard Lawson of
Vanity Fair thought the film was "a wild, profane blast." He liked Madison's "lively" performance, yet described the storytelling as somewhat repetitive. Lawson wrote "a darkness thrums under the surface of all this flirting and bickering. Ani is forever yanked this way and that, degraded and disregarded [...] I [was] torn between finding Baker's conclusions compassionate and sensing a vague whiff of something patronizing." Roger Moore of
Movie Nation thought the film had some "gauche, bourgeois clichés." While he praised Madison, he thought Baker's editing dulled "his predictable narrative and message." Stephen Dalton of
The Film Verdict disliked how "an overlong runtime, underwritten characters and some uneasy tonal wobbles dampen the film's punchy humour and propulsive energy." He wrote of one scene as "an extended struggle that lurches uneasily between slapstick comedy and brutalising assault." Dalton thought the narrative was "oddly paced", describing the "lyrical final section" as lacking "conviction or firm resolution."
Justin Chang of
The New Yorker wrote the film "plays like a wild dream—first joyous, then catastrophic, and always fiercely unpredictable." He enjoyed the "contemporary return to screwball tradition", yet thought it could have been employed better. Chang liked how it "built up a righteous steam of fury, now unleashes it against the Ivans of the world and salutes those toiling thanklessly in their employ." and
Film Comment named it one of the ten best. In 2025,
Collider ranked the film at number 36 on its list of "The 40 Best Movies of the 2020s", with Jeremy Urquhart terming it "something of a modern classic".
Anora was praised by many filmmakers and actors. In March 2025,
IndieWire ranked it at number 46 on its list of "The 47 Best Romance Movies of the 21st Century," with Wilson Chapman calling it "exactly the type of love affair only he [Baker] could write: funny, lewd, sexy, tempered by class and financial considerations, and ultimately quite tragic and brutally real."
IndieWire also ranked the film at number 34 on its list of "The 100 Best Movies of the 2020s (So Far)" in June 2025. It was one of the films voted for the "Readers' Choice" edition of
The New York Times list of "The 100 Best Movies of the 21st Century", finishing at number 141. However, one commentator, Russian-Jewish screenwriter , found it difficult to reconcile support for the film, given the ongoing
Russian invasion of Ukraine; he commented in the
New York Times on February 27, 2025, "Its Oscar nominations, especially the best supporting actor one for Yura Borisov, have been touted by some as a national victory in Russia. Which puts me in the unsettling position of being in some truly terrible company in cheering for it."
Reaction from sex workers Anora received praise from some
sex workers for its depiction of the profession, which they described as a step forward from films of the past that tended to portray sex work as a social transgression worthy of condemnation. In a piece for
Slate, Risdon Roberts contrasted the character of Ani with Vivian Ward in
Pretty Woman, writing the former "is not a desperate or trafficked waif, nor is she a
hooker with a heart of gold. Baker doesn't even set out to make [Ani] worthy of
sympathy—instead, we're in awe of her prowess as she works the floor of a high-end strip club while the opening credits play ... Right away, it's clear that we're rooting for Ani not because she's down and out like Vivian—we're rooting for her because she's shrewd and in control". A UK-based sex worker commented that the film "rehashes the 'traumatised, vulnerable sex worker' trope, which we've seen a thousand times before". Cruz wrote that it is debatable "whether Ani becomes more clear-eyed about her relationship to power, men, and money throughout the film". with some critics comparing it to a re-hashing of
Pretty Woman.
Anora has also been portrayed as a "national victory" and a sign of warming cultural relations between Russia and the West. ==Accolades==