On “Anora”: Armenian representation or reinforced stereotypes?
Sean Baker’s Anora, a film that features not only two Armenian actors but also plenty of dialogue in the Armenian language, took home several awards at the Oscars this year. Karren Karagulian and Vache Tovmasyan walked onto the stage of the Dolby Theatre on March 2, 2025, to accept Hollywood’s highest accolade—an undeniably celebratory moment for America’s Armenian diaspora. They look Armenian, they speak Armenian, their names are Armenian, they’re born in Yerevan and now they own that shiny gold trophy. One cannot deny that this is a massive success, considering that Armenian representation is incredibly rare in the media and beyond.
Anora follows a young sex worker in New York named Anora (Ani) who impulsively marries Vanya, the son of a Russian oligarch, entangling herself in his family affairs. Vanya’s security guards—two Armenian men—learn of the marriage and spend several days trying to wrangle Ani and Vanya into annulling the marriage, per orders from Vanya’s parents in Russia. This narrative drives the chaos, humor and excitement, making for an inarguably entertaining and thoughtful film.
The Armenian security guards, Toros and Garnik, speak Eastern Armenian, cursing and scheming as they bicker with Ani and hunt for Vanya. For those who understand the Armenian language, their attitudes and speaking styles were both genuine and hilarious, making for a wonderful surprise. Never in my life prior to watching Anora had I heard the word qavor in an AMC theater.
Toros and Garnik were the comic relief in an otherwise dark film. For a native Armenian speaker, the humor is multiplied tenfold, as their jokes carry significant cultural contexts and meanings. However, I left the theater wondering why the Armenian characters were the comic relief in the first place. Though funny, these characters stem from common Armenian stereotypes. I wasn’t fond of their attachments to the Russian oligarchy, specifically as henchmen to a wealthy and corrupt Russian man. Their subservience reflects a stereotype that exists both in Armenia and in the diaspora—one that places Armenians in a hierarchy, beneath the economically more powerful Russians.
Toros, our qavor, is seen exiting a family baptism to take calls from his boss, a shadowy Russian oligarch who happens to be Vanya’s father. Toros and Garnik’s devotion to this oligarchical family and their brat of a son links Armenian culture to suspicious Russian activities. Vanya destroys Anora’s life, spends exorbitant amounts of money and disobeys his family, leaving Toros and Garnik to pick up the pieces. This feeds into existing stereotypes of both Armenians and Russians as slimy and seedy—which I would argue is more harmful to Armenians than Russians, given how infrequently Armenians appear on the silver screen.
By attaching the Armenian characters to Russian social politics and activities in the one film where Armenians even exist in the first place, Anora fails to establish a singular and specific Armenian identity. Realistically, a white American filmmaker like Sean Baker does not owe the Armenian people nuanced and authentic cultural representation, as he never claimed Anora to be that film. However, as an Armenian viewer, I don’t feel that the film advances Armenians as an independent and self-determined people. I certainly would not pinpoint this film as the crux of Armenian representation.
This portrayal is by no means atypical, nor is it entirely unrealistic. The historical and present connections between Armenians and Russians—linguistic, political and social—are undeniable. So is the existence of suspicious activity within the Armenian community, done both in conjunction with Russians and independently. Though ugly and shady, these characterizations stem from a facet of the Armenian reality, which—I hate to admit—almost made the film more funny. I enjoyed watching Toros and Garnik’s shenanigans, but I couldn’t help but wonder about their implications for Armenian representation going forward.
Upon moving to Los Angeles several years ago, I was met with my first instances of anti-Armenian sentiment from American youth. Outside of L.A., Armenian communities tend to be small and overlooked; this shaped my experiences growing up, as it was up to me to positively influence the perception of Armenian culture in places where it was largely unknown. However, since Los Angeles houses the largest concentration of Armenians outside of Armenia, assumptions about Armenian culture are already entrenched.
How convenient.
Anora’s representation of Armenians shouldn’t be the basis for people’s assumptions about Armenian culture, nor should it set a precedent for filmmakers to cast Armenians solely as members of a mob or subservient to an oligarchy.
When I introduce myself to non-Armenians, I am invariably asked about one of four topics: tax evasion, crashed BMWs, cigarettes or the Kardashians. People approach me with such bluntness and confidence, as if I am obligated to attach myself to the joke or reinforce these stereotypes with personal anecdotes. In Los Angeles, the Armenian man is a Borat-adjacent, racially ambiguous, citywide meme. Racist jokes against Armenians are acceptable in L.A., as the Armenian community here is so obnoxious in the eyes of the prejudiced individuals who believe that their Armenian credit card fraud jokes are edgy.
For these reasons, I raised an eyebrow at Anora’s portrayal of Armenian men as this exact caricature. Although this image of the Armenian people reflects a realistic trend that does exist in L.A. and elsewhere, it is disappointing to see it become the singular image of Armenian identity in Hollywood today. Though Toros and Garnik’s identities are not the central element of the story, their portrayals as goofy Russian puppets are reductive and unproductive. Armenians are already so thinly represented in the media, and any mention of Armenian existence, regardless of context, is bound to gain traction within the community.
However, Anora’s representation of Armenians shouldn’t be the basis for people’s assumptions about Armenian culture, nor should it set a precedent for filmmakers to cast Armenians solely as members of a mob or subservient to an oligarchy.
Ultimately, Toros and Garnik are characters that deserve to be celebrated, as they highlight just some of the many roles that Armenians can occupy in film. Hopefully, future films will showcase elements of Armenian culture beyond its connections to Russian oligarchs. In constructing an Armenian image in 21st century cinema, I hope that Anora is simply a starting point, not the foundation.
Areni Panosian
Latest posts by Areni Panosian (see all)
- On “Anora”: Armenian representation or reinforced stereotypes? - March 12, 2025
The only films I remember, were Armenians have been portrayed positively, are the two Armenian Genocide films Ararat and The Promise – naturally because they were the victims. As the author said, in films and in episodes of television series, Armenians are shown either as villains or seedy. Armenians are almost invisible in films, series and news, and when they are portrayed, it is always these negative stereotypes, which is perpetuated and recycled over and over again. When Anora was shown, it turned out just as I feared, and many other Armenians feel so too. I am sure those who found this funny, are not in the majority. We need positive portrayals of Armenians in foreign films and television series.
When we don’t take control of our own narrative and create art that portrays Armenians in a positive light, we leave it to others – and this is the result. One negative portrayal overshadows eight positive ones, making it an uphill battle to counter these misrepresentations in film and literature. Their influence is immense. Despite the richness of our history, we focus solely on the genocide, as if it defines our entire existence. It’s time to shift that narrative and move beyond victimhood and showcase Armenians as contributors, innovators, and worthy citizens of the world. We owe it to our future generations to reclaim and redefine our image.
I guess you can be mad all you want about how Armenians are portrayed. But the last time I was in LA, hearing some guys speaking Armenian in a movie line, I was going to say B/Parev. But then I saw the guns tucked in their waistbands. 🤷🏻♂️
I think both Areni an Steve are overreacting, politicizing something that has nothing to do with politics. If we relate the characters with the nationalities of the actors, things will go amiss. Take it easy people, it’s just a role. What I am wondering about is why Karren is holding two Oscars and Vache one. I don’t think any of them won an Oscar individually.
Armenians should put their money where their mouth is and make films!!!
Make films, fund films, encourage Armenian filmmakers, and attend Armenian Film screenings, instead of just blabbing on and doing nothing but criticizing!
ANORA is not about Armenians, just as the whole world does not revolve around Armenians. There are ALL sorts of Armenians, just as there are all sorts of humans. Why should we expect ALL Armenians, Armenian stories, and portrayals of Armenians to be as angelic, righteous, just, courageous and perfect individuals? Anora happens to be about these two Armenians who are none of the above. However, it is directed and acted authentically and truthfully. There is nothing more hurtful than the truth. Sean Baker has held a mirror to Armenians, and suddenly we do not like what we see. Don’t wait for others to tell your story if you care for your story to be told the way you want.
Several Armenian films with Armenian characters are screening at Cinema Village this weekend, specifically on Sunday, March 16, at 4:00 (Armenian Shorts) and 5:30 PM (Labyrinth) respectively. Come and meet Director Mikayel Dovlatyan, and hear about the state of cinema in Armenia, see what Armenian Women in Cinema are doing, come and hear about our Endless Exile, see how odars cannot pronounce our difficult names, and see the early 1990s labyrinthine years just after independence, in Dovlatyan’s Labyrith.
Then come and see Karren Karagulian honored for his Cinematic Achievements.
But no, I forgot. Many Armenians prefer to sit back and criticise the portrayal of Armenians in the five Academy Award-winning feature film Anora directed by the talented American film director Sean Baker, instead of owning their stories or applauding the efforts made in telling them.
Quoting Lord Byron;
It would be difficult, perhaps, to find the annals of the people, less stained by crimes than the annals of the Armenians, whose virtues were peaceful, and whose vices were the result of oppression. But whatever their fate and it is sad, whatever awaits them in the future, their country must always remain one of the most interesting on the entire globe…
And yet we are reduced to silly caricatures like in this film. Films like this dont come close to doing justice to Armenian History and the Armenian struggle.
A silly movie, I tried to watch it on TV yesterday. Couldn’t even finish it, too boring.