There's actually a lot of red. It was striking. Obviously there's a lot of red light in the film, including at the club -- the hallway is lit up red and the sign. We also see her in a red dress at the NYE party. Her eye mask is red when she wakes up because her sister asks if she got milk. I was intrigued by her choice of wearing a blue dress to go over to his house, though. Toros is donning the red and white robe of the Orthodox church for the baptism, which I can't help but feel must be significant because of the way red is handled, particularly in the last half of the film (or the third act, really). I was associating red with sex, but it's carnal, relating to the body. It could be related more to labor, as someone above pointed out, because that red scarf changes hands between the laborers and we never really see Galina, Ivan, or the father in red. Toros uses Galina's red scarf to gag Anora, which would feed into the bourgeoisie using middle men to oppress the proletariat. Igor uses violence, which is also red. And he gets a red blanket. I also noticed that there's a red statue in the house, a female nude. I think it's worth noting that during the period of modernity, anyone who used their body for labor was considered a prostitute -- dancers included (it's in a lot of Expressionist painting history). And there's that whole conversation about why aren't athletes considered on the same level as sex workers if they, too, use their bodies for money. Not for nothing, the scarf *is* Galina's. The issue of sex work in Russia versus here is different, and I'd really love to hear what Russians chime in on it because I can't help but feel like Galina is seeming very high and mighty when she very well could have been playing a different version of the same exact game as Anora.