Hi, I’m Salik Waquas – a passionate filmmaker, full-time film colorist, and the proud owner of Color Culture, my very own color grading service. Today, I want to share my thoughts on the cinematography of “Anora,” a film that has challenged and inspired me with its visual storytelling. In this article, I dive deep into the creative process behind the camera work, lighting, and technical choices that make “Anora” such a compelling visual experience.
About the Cinematographer
When discussing the visual heartbeat of “Anora,” one cannot overlook the contribution of cinematographer Drew Daniels. His approach to the film was as unique as it was thoughtful. Drew constantly wrestled with the age-old question: should a film be objective or subjective? For him, it wasn’t just about capturing events on film; it was about capturing the soul of the story. I recall him explaining how he balanced between being in the character’s mind and observing her from a distance. This duality gave “Anora” a texture that was both intimate and detached, a rare blend that perfectly echoed the complexity of its protagonist.
Drew’s style—marked by unconventional master shots and a refusal to rely heavily on traditional dolly tracks—infused the film with a raw, scrappy energy. The camera wasn’t just an observer; it became a participant, one that moved with a certain grit and punchiness reflective of the character’s personality. There’s a playful rebellion in his work; imperfections were not hidden but embraced, with underexposure and subtle flashes that added layers of texture. It was a refreshing reminder that sometimes, the beauty of cinema lies in its flaws.
Inspiration for the Cinematography of “Anora”
The creative wellspring behind “Anora” seems to be as multifaceted as the film itself. One of the fascinating insights I encountered was the director Sean Baker’s acknowledgment of his influences—specifically a nod to Fellini’s Nights of Cabiria. Now, if you haven’t seen that film, let me tell you, it’s a masterpiece in evoking an atmosphere of hopeful melancholy and desperate escape. That inspiration permeates “Anora,” where you see a similar juxtaposition of heart and hardship.
For me, the cinematography of “Anora” isn’t just about pretty visuals. It’s about storytelling through every frame, using light and shadow to mirror the internal struggles and aspirations of the characters. As the narrative shifts from a neorealist vibe in its quieter moments to a kinetic, almost gangster-esque flair in its more energetic sequences, you can see a deliberate effort to reflect the protagonist’s inner journey. This blend of influences—classic European art-house sensibilities with a dash of modern urban grit—creates an ambiance that feels both timeless and edgy.
What truly struck me was how the film dared to evolve visually as its narrative progressed. It’s like watching a painter who starts with broad, rough strokes and then meticulously refines each detail as the portrait takes shape. This evolving visual language is something I hold in high regard, as it mirrors the unpredictable and ever-changing nature of life itself.
Camera Movements Used in Anora
One of the most exhilarating aspects of “Anora” is its dynamic camera work. From the get-go, the film grabs you with camera movements that feel almost alive—each motion carefully designed to amplify the storytelling. Drew Daniels and the team opted for a style that was more spontaneous than orchestrated, throwing conventional rules out the window.
I was particularly taken by their approach to dolly movements. Instead of setting up long, flawless tracking shots, they embraced a kind of “guerrilla” cinematography. The camera glides on makeshift dollies, often capturing the imperfections of a live environment—think slight jitters and unexpected shifts. This choice wasn’t a sign of technical laziness; rather, it was a deliberate strategy to capture the raw, unscripted energy of the story. In many scenes, the camera feels as if it’s “dancing” alongside the characters, fluidly transitioning from intimate close-ups to wider, more observational master shots.
There were moments when the film’s movement transitioned from a slow, almost contemplative pace into rapid, kinetic sequences that mirrored the hectic energy of New York streets. It was as if the camera had a mind of its own—sometimes erratic, sometimes poised, but always in perfect sync with the narrative. This willingness to play with speed and rhythm kept the visual storytelling fresh and engaging, and it’s a technique I find both daring and exhilarating.
Compositions In Anora
Good compositions are the unsung heroes of effective cinematography, and “Anora” delivers in spades. I’ve always believed that a well-composed shot can speak volumes without uttering a single word. In “Anora,” the framing of each scene seems meticulously designed to echo the protagonist’s journey—her resilience, her vulnerability, and her ever-present defiance.
There’s a clever interplay between static and dynamic compositions throughout the film. For instance, in more introspective scenes, the camera often frames Annie with generous negative space, emphasizing her isolation or the weight of her internal conflicts. Conversely, during the high-energy sequences, the framing tightens, almost as if the camera is boxing her into the moment, compelling you to feel every bit of the tension and adrenaline.
Lighting Style of Anora
The film’s lighting style is as multifaceted as its narrative—sometimes harsh and gritty, other times soft and introspective. One of the techniques that really caught my eye was the deliberate underexposure in certain scenes. Rather than concealing imperfections, the filmmakers allowed the shadows to deepen, lending a tactile, almost tactile quality to the images.
There’s a kind of playful tension in the way light is used in “Anora.” In some sequences, the lighting is almost theatrical—accentuating the raw emotions of the characters, while in others, it’s more subdued, allowing the narrative’s quieter moments to breathe. I couldn’t help but appreciate the deliberate choices in pushing the film a few stops, using subtle flashes to evoke a sense of urgency and unpredictability. It’s this nuanced use of light and dark that not only sets the mood but also serves as a visual metaphor for the dualities within the characters themselves.
Lensing and Blocking of Anora
The film’s lens choices help to accentuate the inherent grittiness of its world. Wide-angle lenses are liberally employed in crowded street scenes, emphasizing the chaotic energy of urban life, while tighter lenses are used in more intimate settings, drawing you closer to the characters’ inner worlds. There’s an underlying intelligence in how these tools are wielded—each lens decision appears to be a conscious effort to balance the objective and subjective viewpoints that define the film’s style.
Blocking in “Anora” is equally noteworthy. There’s a natural fluidity to the way characters move within the frame, a sense of spontaneity that feels almost unscripted. One standout sequence—an extended, 28-minute chase through bustling neighborhoods—showcases the brilliance of this approach. The choreography of movement, combined with the improvisational energy of the cast, results in moments that are both visually striking and deeply authentic. It’s as if every gesture, every pause, was meticulously planned to reflect the unpredictable nature of life in the film’s world.
Color Grading of Anora
Now, here’s where I get to geek out a little bit more—color grading. As someone who lives and breathes color correction at Color Culture, I couldn’t help but analyze how “Anora” uses its palette to further the story. The film’s color grading is not an afterthought; it’s an integral part of its visual identity.
The overall palette of “Anora” is as dynamic as its narrative. There are sequences where the colors are muted, almost desaturated, echoing the stark, unembellished reality of street life. Then there are moments where the hues intensify—a deliberate push that adds a touch of surrealism to the storytelling. I noticed that in key scenes, the filmmakers chose to push the film a couple of stops, underexposing in certain areas and then flashing or pulling it in others. These techniques serve to enhance the film’s inherent grittiness, lending a tactile, almost raw quality to each frame.
For me, color grading isn’t just about making things look “nice” on screen—it’s about evoking emotion. In “Anora,” the colors often act as a silent narrator, guiding the viewer through shifts in tone and mood. The gradations of light and shadow, the deliberate warmth in intimate moments, and the cooler tones in scenes of tension all contribute to a visual rhythm that feels both organic and meticulously crafted. It’s this kind of thoughtful color work that not only accentuates the film’s narrative but also leaves a lasting impression long after the credits roll.