‘Anora’ is a tale of two halves: the first half, in typical Sean Baker fashion, explores Ani’s daily life with a dash of romance that often leans into male fantasy. The second shifts to a cat-and-mouse chase with the supporting characters.

‘The End’ wasn’t made to create sympathy for the ultra-rich anyway, but its direction is quite muddled and meaninglessly repetitive. It’s richly detached to a fault.

‘When Fall is Coming’ only finds itself to be treated with some care, ending up another vapid attempt in one of Ozon's many to demystify the stable French countryside.

‘All of Us Strangers’ is a hymn for the lonesome, a saving grace that comes knocking at your door in the middle of the night. It is very personal, modern, and queer, tackling the long and winding road of grief but focusing more on its first stage—denial.

With the use of various surreal imagery, the film effectively removes the idealized version of the empress the majority would have in their heads. It conditions the audience to see her for who she really is, an enigma, and possibly connect to her struggles not as a monarch, but as a human being.