People fall in love with “Anora.”

Sean Baker has made his mark on indie cinema with standout films like “The Florida Project” and “Red Rocket.” His latest, “Anora,” a reimagining of “Pretty Woman” that swaps Richard Gere’s debonair corporate raider for Mark Eydelshteyn’s sex-crazed son of a Russian oligarch, is his most accessible project yet. And just as “Pretty Woman” sent Julia Roberts into the stratosphere, Mikey Madison’s turn as a less-than-glamorous sex worker has made her the year’s breakout artist. After winning the Palme d’Or at Cannes in May, the film made its U.S. premiere at the Telluride Film Festival to a sold-out crowd. Subsequent screenings have been turned away by about 200 people each, making it one of the hottest tickets at the festival, alongside Sony’s “Saturday Night” and Netflix’s “Emilia Perez.”

The film follows Anora (Madison), a Brooklyn sex worker who marries a wealthy Russian heiress (Eidelstein), making his shady businessman father and even more terrifying mother very, very unhappy. Their anger over their impulsive engagements sets off a series of unfortunate events that test their relationship.

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