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How Oscar Nominee ‘Anora’ Subverted the Brooklyn Cinderella Story

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How Oscar Nominee ‘Anora’ Subverted the Brooklyn Cinderella Story

That location is everything turns out to be a truth nearly as relevant to romantic comedies as it is to real estate. If you cannot recall where two characters find each other or rekindle something long dormant, then the rest of the movie probably isn’t worth remembering.

There is nearly nothing forgettable about Sean Baker’s “Anora,” which picked up six Oscar nominations on Thursday, among them best picture and best director, a film virtually unsurpassed in its use of place and architecture to make the thematic arguments at its core.

The best romantic comedies deliver aggressively on geography, so much so that to ask where “Four Weddings and a Funeral” or “Love, Actually” or any Nora Ephron film is set, can seem like wanting to know which of the ancient empires belonged to Caesar. By now, even if you have not seen “Anora,” you have likely heard that it is a Brooklyn love story with Brooklyn drawn well beyond the parameters of bourgeois cliché.

We are many, many subway stops away from open shelving and tastefully patinated kitchen fixtures, away from people falling in love because they both dig Elizabeth Bishop or Wellfleet in the off-season.

Vanya encounters a stripper named Anora — or Ani — at a club in Hell’s Kitchen and eventually asks her to see him exclusively, a transactional arrangement that suits her because she finds herself as attracted to his endearingly goofy sense of exploration as she is to his cash.

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We are in “Pretty Woman” territory but also in a place where the accompanying expectations are skillfully subverted. Ani is animated by a beguiling innocence, just as Julia Roberts’s Beverly Hills sex worker was, but also carries with her an anger, deeply ingrained, from which the relationship with Vanya brings only a short reprieve.

Like other Sean Baker films — “The Florida Project,” “Red Rocket” — “Anora” immerses itself in the indignities experienced on the less-resourced side of the class divide. For a while in the late 1980s and early 1990s, the genre of romantic comedy seemed distinguished by a certain gendered leveling up in the vein of “Pygmalion” and classic Regency fiction — a sweet and intuitively smart (if not Wellesley-pedigreed) woman would meet a guy of much higher social standing, and her fortunes would soar both in terms of a fulfilling relationship in which she finds herself as well as the great apartments and country houses that happen to come along with it.

“Pretty Woman” is the one obvious box-office-shattering example; two years before came Mike Nichols’s “Working Girl,” in which Melanie Griffith took the Staten Island Ferry every day to a secretarial job on Wall Street that left her demeaned by a waspish female boss and then redeemed by the love of a kindhearted titan and a shot at showing off her native talent for orchestrating corporate mergers.

Decades earlier, in the 1940s, a similar dynamic took hold in comedies like “Ball of Fire” and “The Lady Eve,” when the culture, getting dragged out of the Great Depression by an aristocratic president, was eager to appreciate the view that the elites were the good guys.

“Anora” calibrates itself to other realities. It shrewdly asks how much mobility — particularly the kind acquired through marriage — is really possible in a place like 21st-century New York or anywhere the wealthy can sequester themselves from the less lucky.

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When Ani meets Vanya’s terrible parents right after they land in town by private jet to break up her relationship with their son, she naïvely assumes that they will like her if she tries hard enough, that her polite and mannered way of speaking will make the matter of her profession irrelevant. It is a peculiar aspect of the conversations that have come up around the film that “Anora” is described as a Cinderella story when it is attuned to very different transitions and awakenings, to princely behaviors coming where you might not anticipate them.

“Anora” shifts effortlessly between the keys of mournfulness and farce, exiling the romantic comedy from the place where it has been so comfortable for so long, the whole universe of tasteful, cosmopolitan money. In the 1970s, the philosopher Stanley Cavell coined the phrase “comedies of remarriage” to refer to those Hollywood films of the 1930s and ’40s in which a certain world order is re-established (usually in Connecticut, he joked) when two like minds reunite after a divorce or separation (or the realization that the other person, long-ago shipwrecked and thought to be dead, really isn’t; see “My Favorite Wife”).

“Anora,” a screwball, might belong to a subgenre as yet unnamed — the comedy of repatriation, in which it is neither the very familiar nor the exotic that ultimately compels but the reckoning that brings you back to some vanished part of yourself.

Ani has witnessed the fantasy — the diamonds on demand, the house with a garage that can hold 10 cars. She has been to the ball, but she will leave no glass slipper behind.

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New York

An Anne Frank Exhibition in New York

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An Anne Frank Exhibition in New York

Good morning. It’s Monday. We’ll look at a new Anne Frank exhibition opening in the city today, which is International Holocaust Remembrance Day.

A new Anne Frank exhibition will open at the Center for Jewish History in New York today, International Holocaust Remembrance Day, and will remain there for three months before moving on to other cities.

“Anne Frank the Exhibition” is a full-scale re-creation of the annex where Anne and her family hid from the Nazis from July 1942 to August 1944 in Amsterdam, and where she wrote her diary. The show has more than 100 original artifacts and examines Anne’s life and death. This is the first time the annex has been completely reconstructed outside Amsterdam, my colleague Laurel Graeber reported.

The exhibition aims to show “how this history, how this memory will go into the 21st century,” Ronald Leopold, executive director of the Anne Frank House in Amsterdam, said in an interview with Laurel. It comes to New York as antisemitism is rising in the United States and abroad.

The reconstructed annex has five rooms. Each room has the exact details and dimensions as its counterpart at the Anne Frank House, which more than 1.2 million people visit each year. Unlike the original space, which has been intentionally left empty, each room in the exhibition is filled with furniture and possessions, including books and a board game. It also has a facsimile of the diary; the original is in Amsterdam.

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The presence of furniture and other possessions in the exhibition could stir controversy. Agnes Mueller, a professor and fellow in Jewish Studies at the University of South Carolina and a fellow at the American Academy in Berlin, said her instinct told her that when Otto Frank, Anne’s father, decided to keep the original annex empty, he was worried about commercialization and universalization of her persona.

“He actually emphasized absence as a way to represent that which is not representable,” Mueller told Laurel. The sight of an annex room filled with possessions, she said, “might induce us to feel way too good about things that we should not feel good about.”

Anne was 13 when she went into hiding, and the installation follows a chronological path, tracing her family’s life in Frankfurt, Germany, in the 1920s through their flight to Amsterdam. One of its introductory rooms uses a montage of film and photos to recreate the atmosphere of Amsterdam in the early 1940s. After that, visitors enter the annex.

“We all know that the diary is about the two years in hiding,” said Tom Brink, the head of collections and presentations at the Amsterdam house and the traveling exhibition’s curator. “But of course, the story is much bigger than that. It starts earlier, it ends later, and that entire story and entire journey deserves to be told.”

The exhibition also chronicles Anne’s father’s return from Auschwitz. He was the sole survivor of the eight Jews who hid in the annex, and pursued the publication of Anne’s diary. In the New York installation, 79 editions of it in different languages are on display, along with memorabilia from theatrical and film adaptations.

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Leopold said the immersive elements of the show were meant to take people, especially youths, back in time. The Center for Jewish History has already booked more than 250 school tours of the show, and weekday tickets for visitors under 18 years old are available for $16. The exhibition, a nonprofit venture whose revenues support the missions of its two presenting partners, also provides curriculum materials to classes and free admission to students attending as part of New York City public-school field trips and to those from schools nationwide receiving federal education funding.

There will be programming for adults as well. Tomorrow evening, the author Ruth Franklin (“The Many Lives of Anne Frank”) will be interviewed at the center. On Feb. 9, the novelist Alice Hoffman (“When We Flew Away”) will appear there, and the center will also host a film series. (An extension of the show in New York is under consideration; more venues will be announced in the spring.)

Leopold said that he hoped the show would inspire engagement as well as reflection.

“If this exhibition is doing anything, it’s not just teaching history,” he said. “It is also teaching about ourselves.”


Weather

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Expect sunny skies with a high near 39; the wind will make it feel colder. Tonight, there will be high winds with a cloudy sky and a low near 32.

ALTERNATE-SIDE PARKING

In effect until Tuesday (Lunar New Year’s Eve).


Dear Diary:

Now he’s sleeping the sleep of a dead man,
In a flat on the Lower East Side.
Oh, we tussled and wrestled,
Then we spooned and we nestled.
He’s a master of love, and I’m satisfied.

But I’m leavin’ that boy on 10th Street,
There is something that I cannot ignore
Much too glaring and numbing,
Has to do with the plumbing.
Turns out it’s an undeniable flaw.

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He’s got best sellers and electronic toys,
He likes clean fun and connubial joys.
Now I don’t care he’s not rich an’ —
Still it breaks my heart.
He’s got a bathtub in the kitchen.
(I have to wash my back with a roasting rack.)

What a daunting dilemma,
After scarfing up the lamb vindaloo.
It just isn’t nice ’cause when I scrape off the rice,
Gotta move all the sponges and the Prell shampoo.
Yeah, we like our sushi and our bagels and lox,
Our steaming pizza fresh right outta the box.
All of our dinners are quite bewitchin’
But it tears me up —
He’s got a bathtub in the kitchen.
(Gotta wash my toes with a rinsing hose.)

It doesn’t matter that he’s great in the sack,
I know for sure that I won’t ever be back.
He’s intelligent and kind, but I still have my gripes,
Don’t want bathroom water in the kitchen pipes.

Now, I’m no stranger to heartache,
Trouble has knocked at my door.
But I’ll go it alone and I won’t answer the phone,
Leave his gritty Ajax and his strange décor.

Adios my man, keep your fryin’ pan.
Later for you bachelor and your ladle and your spatula.
You’ve got a bathtub in the kitchen.

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Lou Craft

Illustrated by Agnes Lee. Send submissions here and read more Metropolitan Diary here.


Glad we could get together here. James Barron is back tomorrow. L.F.

P.S. Here’s today’s Mini Crossword and Spelling Bee. You can find all our puzzles here.

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‘ I Heard a Man Behind Me Explaining the Work to His Group’

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‘ I Heard a Man Behind Me Explaining the Work to His Group’

Dear Diary:

My trips to the Metropolitan Museum of Art typically include a stop to see Seurat’s Study for “A Sunday on La Grande Jatte,” a precursor to his much larger “A Sunday on La Grande Jatte.”

That painting, almost certainly the artist’s best known, has been viewed by countless visitors to the Art Institute of Chicago, and by many others who have seen a certain popular 1980s movie in which the piece has a small, but meaningful, role.

On my most recent visit to the Met, I heard a man behind me explaining the work to his group: And there’s another one at the Art Institute of Chicago that’s three times as big as this one, he said.

I turned around.

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“You really know your stuff,” I said.

“Yeah,” he said. “I saw ‘Ferris Bueller’s Day Off.’”

— James Devitt


Dear Diary:

Now he’s sleeping the sleep of a dead man,
In a flat on the Lower East Side.
Oh, we tussled and wrestled,
Then we spooned and we nestled.
He’s a master of love, and I’m satisfied.

Advertisement

But I’m leavin’ that boy on 10th Street,
There is something that I cannot ignore.
Much too glaring and numbing,
Has to do with the plumbing.
Turns out it’s an undeniable flaw.

He’s got best-sellers and electronic toys,
He likes clean fun and connubial joys.
Now I don’t care he’s not rich an’—
Still it breaks my heart.
He’s got a bathtub in the kitchen.
(I have to wash my back with a roasting rack.)

What a daunting dilemma,
After scarfing up the lamb vindaloo.
It just isn’t nice ’cause when I scrape off the rice,
Gotta move all the sponges and the Prell shampoo.

Yeah, we like our sushi and our bagels and lox,
Our steaming pizza fresh right outta the box.
All of our dinners are quite bewitchin’
But it tears me up —
He’s got a bathtub in the kitchen.
(Gotta wash my toes with a rinsing hose.)

It doesn’t matter that he’s great in the sack,
I know for sure that I won’t ever be back.
He’s intelligent and kind, but I still have my gripes,
Don’t want bathroom water in the kitchen pipes.

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Now, I’m no stranger to heartache,
Trouble has knocked at my door.
But I’ll go it alone and I won’t answer the phone,
Leave his gritty Ajax and his strange décor.

Adios my man, keep your fryin’ pan.
Later for you bachelor and your ladle and your spatula.
You’ve got a bathtub in the kitchen.

— Lou Craft


Dear Diary:

I was taking an uptown express to the Upper West Side. A trim, older man with a well-worn accordion got on at 34th Street.

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He immediately jumped into a set of ’60s rock classics. Man, he rocked. Among the highlights was his version of the 1966 Rolling Stones hit “Paint It Black.”

As we both prepared to get off at 96th Street, I gave him a nod of approval and put some money in his cup.

He grinned and rushed toward the uptown local that was waiting across the platform.

He said, “96th Street, ‘96 Tears.’”

— Chris Parnagian

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Dear Diary:

It was about 10 years ago. I was in the passenger seat of our Toyota, my husband was at the wheel and we were stuck in northbound traffic on the West Side Highway.

It was warm out, and we had the windows down. I had a copy of “Life of Pi,” with its distinctive blue dust jacket and orange spine, on my lap.

I heard a man’s voice that sounded like it was next to me but much higher up. It turned out it was coming from the open window of a cab on a tractor-trailer that was idling next to us.

“Great book,” the voice said.

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I looked up and saw the truck’s driver looking down at me. His elbow was resting on the edge of the open window. Beneath it was a copy of “Life of Pi,” open so I could see the dust jacket.

“Great book!” I said.

Slowly, traffic began to move.

— Connie Beckley


Dear Diary:

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It was lunchtime in Midtown, and the deli counter line snaked its way along a refrigerated unit filled with cheeses, salamis and tomatoes.

It was all new to me, a recent arrival from Ireland. Finally, it was my turn to order.

“Yeah?” the counterman said.

“Do you have whole wheat?” I asked.

The counterman furrowed his brow and nodded.

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“Do you have Cheddar?”

“Yes.”

“Do you … ”

I felt a tap on my shoulder.

Turning around, I saw a short, older man wearing a pork pie hat and a bow tie and peering at me though his glasses.

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“Stop asking questions,” he said. “Tell him what you want.”

— Tommy Weir

Read all recent entries and our submissions guidelines. Reach us via email diary@nytimes.com or follow @NYTMetro on Twitter.

Illustrations by Agnes Lee

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N.Y. Migrants Fear Expulsion After Trump Expands Deportation Targets

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N.Y. Migrants Fear Expulsion After Trump Expands Deportation Targets

Marlon Luna said he and his girlfriend came into the United States three months ago after fleeing death threats in Venezuela. They waited in Mexico for four long months to secure a Border Patrol appointment instead of crossing illegally. Then they wound up in a New York migrant shelter.

Now, they fear that New York — and America — may be over for them.

On Thursday, the Trump administration issued a memo that widened the scope of people it would seek to deport, including those who, like Mr. Luna, used CBP One, a mobile app, to enter the country.

The Biden administration had used the app to manage the movement of 900,000 migrants through legal ports of entry. Mr. Luna, 23, said he had assumed that if he followed the rules he would have a fair shake. Now, he fears, deportation could happen at any time.

“Some people crossed illegally, but some people wanted to enter in the way that one should,” he said in Spanish outside a Randall’s Island shelter on Friday. “What we are hearing here, and really what everyone is saying, is that at any moment something could happen.”

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For nearly three years, thousands of migrants have come to New York City under Biden-era programs that allowed migrants from Venezuela, Haiti and elsewhere to legally enter the United States and temporarily remain for as long as two years. Now the Homeland Security Department has empowered Immigration and Customs Enforcement officials to expel those with a temporary legal status known as parole, which also allows migrants to work here.

The new directive could have an outsize impact in New York City, where more than 225,000 migrants have arrived since early 2022, many under parole. It raised the possibility that the city’s 187 migrant shelters, where more than 49,000 people still reside, would be prime targets if ICE aggressively pursues migrants allowed in under the Biden administration.

The action in Washington came as officials in New York City, a liberal stronghold with an additional 400,000-some immigrants with temporary or no legal status, have been bracing for an immigration crackdown.

The city has so-called sanctuary laws, which limit cooperation with federal immigration authorities. City agencies have been racing to issue guidance to schools, shelters and social services offices on how to respond if ICE officers show up.

In a message to agency heads last month, Camille Joseph Varlack, who is chief of staff to Mayor Eric Adams, said that leaders would “stand firmly by the values that have made New York City a thriving city of immigrants, regardless of immigration status.”

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However, Mr. Adams’s public messaging and remarks have done little to reassure people who work with immigrants and his fellow Democrats, instead creating a sense of dissonance and discombobulation.

Mr. Adams has denigrated aspects of the sanctuary laws and expressed support for modifying them to allow the city to work with ICE to deport people charged with crimes — all while declining to publicly criticize Mr. Trump. The mayor faces a trial on federal corruption charges in April and has moved to stay in the good graces of Mr. Trump, who could pardon him.

On Thursday evening, when Mr. Adams was asked about a newly issued Justice Department memo that threatens prosecution for local officials who fail to comply with the president’s immigration initiatives, the mayor signaled that he was inclined to cooperate.

“If the federal government is stating that you cannot interfere with the actions, we can’t do anything that is going to jeopardize city employees,” Mr. Adams said, adding, “We need to read through these executive orders and fully understand what they’re saying, what our authorizations may be and what they are not.”

A spokeswoman for Mr. Adams said in a statement Friday that the mayor believes that “federal immigration enforcement should be focused on the small number of people who are entering our localities and committing violent crimes.”

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She added, “While the mayor and president will not always agree on everything, Mayor Adams is focused on how we can work together to do what is best for New York City.”

The measured tone from City Hall was in contrast with that of the New York attorney general, Letitia James, a Democrat. She, along with 10 other attorneys general, responded to the Justice Department memo with a fiery statement: “These vague threats are just that: empty words on paper,” the statement said. “But rest assured, our states will not hesitate to respond if these words become illegal actions.”

Under current city guidelines, federal immigration authorities can only be allowed into a shelter if they have judicial warrants for specific people. Some immigration lawyers said that they had not heard of ICE showing up at New York City shelters since the migrant crisis began almost three years ago.

But they speculated whether that would change soon if Mr. Trump decides to go after migrants who entered using CBP One or under the program that allows certain migrants from Cuba, Nicaragua, Venezuela and Haiti to legally stay for as long as two years. Mr. Trump and his allies have long criticized the programs as tactics abused by the Biden administration to allow illegal immigration under the guise of legal migration, and have moved quickly to end them.

“They’re intending to cast as wide a net as possible to really try to remove as many people who were admitted in the last two years,” said Jodi Ziesemer, the co-director of the Immigrant Protection Unit at the New York Legal Assistance Group. “We’re talking about tens of thousands of people, mostly families, who could be rounded up and deported. They’re very vulnerable.”

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Accomplishing the directives in the Homeland Security memo would be a significant escalation of arrests and deportations, and would present a daunting logistical challenge. Some of the immigrants might have other legal shields, such as asylum or Temporary Protected Status, lawyers said. It might also prove hard for the United States to deport people to Venezuela, given the severely strained diplomatic relations between the countries.

Migrants in city shelters, many of whom speak scant English, were left to parse Mr. Trump’s flurry of executive orders and directives this week. Many wondered whether the asylum claims they have filed in immigration court would offer them a level of protection. Rumors of ICE officers showing up at shelters have swirled in conversations and text messages. Some migrants said they were limiting their time outside the shelters, while others were urgently trying to leave the system altogether, fearful that they could be easy targets.

Pedro Cumana, a Venezuelan living in a small tent outside the Randall’s Island shelter, said in an interview in Spanish that when helicopters have flown over or sirens have gone off at night this week, he has poked his head outside, wondering whether it’s immigration officials or a routine police run.

“I haven’t been able to sleep well,” said Mr. Cumana, who has a hearing related to his asylum claim this month. “I feel uncertain. I’m not sure how to feel, because what if at my own court hearing they arrest me? It’s not easy. You don’t know what to expect.”

Immigration lawyers and activists expressed outrage at the memo’s suggestion that immigration officials could retroactively strip migrants of parole status and seek to move them from formal deportation proceedings to a sped-up exit.

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“The barrage of things that have happened this past week is very intentional, obviously,” said Deborah Lee, the lawyer in charge of the immigration law unit at The Legal Aid Society. “But it’s also intended to be so overwhelming that people cannot fight back and make legal challenges because of the full volume of everything.”

Still, other migrants, like Ramon Cortez, 43, also from Venezuela, refused to panic about what was brewing in the news and on social media. Mr. Cortez, who arrived in New York two months ago after using the CBP One app to enter the country, said in an interview in Spanish that he would not fret until he received official notice that he was at risk of deportation.

“If I receive a formal document, a court or something that tells me, ‘This is going to happen there,’ I’m going to start to believe what they’re saying,” he said.

Wesley Parnell, Olivia Bensimon and Dana Rubinstein contributed reporting.

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