There’s even a powerful moment in the film where Ani pushes back on her manager’s request to get back to work by telling him that until he gives her health insurance and a pension, he doesn’t get to tell her what to do because she’s a freelancer and not a contracted employee. It’s a scene that highlights the current lack of employment rights for sex workers.

Anora, which won the Palme d’Or award at Cannes Film Festival, sees Madison deliver a truly mesmerising and career-defining performance – one that already has many critics predicting big wins for her and the film in awards season. But it’s also the cinematography and the pacing of the story that add to the tension and chaos of watching this love story come apart in a very high-stakes environment.

In the face of some of the most powerful people in the world, Madison’s Ani holds her own and advocates for herself and her own future. Baker could’ve gone down a darker, more violent route with how Ivan’s family deals with Ani’s marriage to their son but he doesn’t – which adds to the nuance and complexity of the film.

Ani’s love story – or lack thereof – reminds us that even though things may seem great on the surface – especially in the early days of meeting someone – relationships do go wrong and people have no choice but to navigate the fallout of these decisions. The Hollywood fairytale is just that: a fairytale that exists in fantasy rather than reality. And Anora perfectly encapsulates that sinking and uncomfortable feeling of when something indeed turns out to be too good to be true.

Anora will be released in UK cinemas on 1 November

Anora: “This film reminds us that the fairytale romance doesn’t really exist – but with a chaotic twist”