Semi-improvised, guerrilla-style filmmaking brings gritty realism to Sean Baker’s beleaguered love story.
As the needle drops on Take That’s ‘Greatest Day’ and before the opening credits have unrolled freewheeling sex dramedy Anora deposits the audience in a strip club. It’s one of many semi-improvised sequences in the Cannes Palm D’or winning feature written, directed and edited by Sean Baker who calls his style “guerilla.”
“We’re setting up this whole first hour of the film like a Hollywood romantic comedy,” the filmmaker said after a screening at the London Film Festival (LFF). “Pretty Woman is a good comparison.”...
You are not signed in
Only registered users can read the rest of this article.
Behind the scenes: Spider-Noir
The Marvel universe series is designed to work both as a gritty monochrome detective story and as a stylised, visually saturated comic book world.
Behind the scenes: FIFA World Cup 2026
Time-zone differences, travel demands, and the geographic spread of host cities are forcing FIFA’s host broadcast and rights holders to rethink traditional production approaches.
Behind the scenes: Eurovision Song Contest 2026
What began as a technical experiment in 1956 is now a global cultural institution reaching approximately 170 million viewers on TV across three live shows and generating billions of views on digital platforms. IBC365 gets a tour backstage in Vienna.
Behind the scenes: Rooster
When Cinematographer Blake McClure signed on to shoot HBO’s new comedy Rooster, he wasn’t looking to reinvent the sitcom; he was looking for a way to stretch the visual language of comedy to integrate the intimacy of large format.
Building Bedlam: “Can I shoot an entire feature film on 65mm?”
Given the chance to shoot the 18th century action-drama Bedlam, Cinematographer James Butler crafted a daring project that merged medium-format photography with cutting-edge digital cinema on a customised Blackmagic URSA Cine 17K 65.
