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He wrote of one scene as "an extended struggle that lurches uneasily between slapstick comedy and brutalising assault." Dalton thought the narrative was "oddly paced", describing the "lyrical final section" as lacking "conviction or firm resolution." [59] Justin Chang of The New Yorker wrote that Anora "plays like a wild dream—first joyous, then catastrophic, and always fiercely unpredictable." He enjoyed the "contemporary return to screwball tradition", yet thought it could have been employed better

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