The Makeup Looks in 'Anora' Reflect the Beautiful Vulnerability of Its Characters
Lead makeup artist Annie Johnson shares how she wanted the beauty looks of the film to showcase emotional highs, excitement and brokenness.
In Anora, makeup isn’t about cosmetics, it’s a vital element in the way the main character’s story is told. Led by makeup artist Annie Johnson, the film‘s looks were rooted in authenticity and detail, from skin imperfections to makeup choices. Working closely with director Sean Baker and the rest of the creative team, Johnson crafted subtle, yet powerful transformations, where the makeup didn’t overshadow the characters but instead highlighted their vulnerabilities and inner struggles.
Johnson’s work on Anora reflects the characters’ emotional journeys and even inspires looks off screen. Below, we speak to the makeup artist about working with Mikey Madison (who plays the lead character, Ani), the important role that makeup plays in cinema and what it was like to work on one of the most talked-about films of the year.
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On Anora’s makeup design and its aesthetic connection to the film
I fully intended for the makeup design for Anora to be 100% authentic to the time, space and people that we were shooting. We even asked some of the dancers in the movie to show up with their looks. I never wanted the makeup to be at the forefront. It was important to me and Sean Baker that the characters look like actual people. I wanted to see their actual skin, flaws included because real people have flaws. While designing these looks, my first thought was, “Is this something that the characters could have done at home by themselves with their own makeup?”
On moments where makeup played a key role in the film’s storytelling
There’s a pivotal moment in the film where [Ani's] lashes come off and we start to see a degradation in makeup. It contributes to the character and her vulnerability. You see Ani stripped away of makeup, [which previously acts] as her security blanket. Near the end of the film, she has a face wound, which also adds such a crucial element to her character and how the makeup is added to it.
On the inspiration for the makeup design
Sean and Mikey were both amazing to collaborate with throughout the entire process. During pre-production, Sean had come to me with some makeup looks referencing ’70s films with thick black eyeliner. Mikey and I ended up narrowing it down to a smaller wing, the final look you see in the film. The hair department head, Justine Sierakowski, and I also worked extremely closely during the whole process. The great thing about Sean is that he puts so much trust in his crew and his department heads. If you have an idea, he’s like, “Awesome, let’s try it.” He’s truly creative, a down-to-earth human and one of the most amazing people I’ve ever had the pleasure to collaborate with.
On working on complex makeup looks
This movie was especially tricky because there were so many moving parts within the makeup department and we were such a small [team]. The film takes place over a short period, with most of it taking place over 24 hours. There was so much continuity to keep track of and our Hair and Makeup Swing, Callie Filion, did such a fantastic job of helping me keep track of wound progression and continuity photos. I had many spreadsheets that I made just to keep track of all the character progressions throughout the film. Along with all the work I was doing on Mikey, the black eye on Vache was particularly tricky to keep track of. I had five stages of his black eye throughout the film and, of course, we don’t shoot the film in order, so it was a lot of wiping it off, putting it on, etc.
On what drew her to the project
My best friend Jocelyn Pierce (Anora‘s costume designer) had recommended me to the producers and Sean Baker, which led me to my first interview for the film. When she first mentioned him, I knew I wanted the position before I was even offered it. I love his films, especially from a makeup artistry standpoint — being able to help tell compelling stories about real people who look like real people. The things he is doing for this industry are groundbreaking, from storytelling to filmmaking.
On her personal makeup style
My personal, everyday makeup style these days is mellow, but that’s why I love what I do. I get to channel my creativity, all this color and glitter through these characters. This is the place where I take chances. When I get a gut feeling about an idea, I try not to doubt it. I spent a super intense month and a half planning looks before we started shooting. I knew that since we were such a small department and there was so much continuity, we were going to have to be super prepared.
On the connection between makeup and a character’s transformation
I wanted the makeup to tell a story near the end. There is certainly a connection between a character’s transformation through makeup. I tried to express that through makeup on Mikey towards the middle of the film. She is so stunning in real life, I was actually kind of struggling trying to figure out how to make her look vulnerable and broken through makeup because of that reason.
On working on Anora and with Sean Baker
Filming Anora and the process of creating the film made me fall in love with doing makeup again. Before I got the gig, I felt like I had come to a standstill in my career and didn’t feel excitement in my work. The film sparked every creative bone in my body and I’ll be chasing that feeling in all my future work. Working with someone like Sean, he respects every single cast member and every single crew member on his set and allows them to do their jobs. That set the bar high for me. We became a family while shooting Anora and it’s something that I’ll treasure forever.
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