Earlier this year, Sean Baker became the most prominent independent filmmaker in the world when his latest feature, Neon’s “Anora,” took home five Oscars, including best picture. The writer-director also went down as the only person in Academy history to win four individual awards for the same film in a single ceremony. His runaway success makes us wonder: Who’s the next Baker? Here’s a look at six indie auteurs whose stars are on the rise.
“Anora” wasn’t the only indie film to turn Academy voters’ heads this year. There was also the A24 prison drama “Sing Sing,” directed by Kwedar and co-written by Bentley; the film earned three Oscar nods, including for best adapted screenplay. This is the pair’s third feature collaboration following 2016’s “Transpecos” and 2021’s “Jockey.” A fourth, “Train Dreams,” is hitting theaters later this year.
Bentley and Kwedar’s adaptation of Denis Johnson’s 2011 historical novella follows the life of railroad worker Robert Grainier (Joel Edgerton) across the first half of the 20th century. Chronicling his loves and sorrows as the country changes around him, the film is at once intimate and epic. It’s perfectly in line with the themes of Kwedar and Bentley’s previous projects, which gracefully explore the influence of American institutions on the people who keep them afloat. Here’s hoping moviegoers will welcome these poetic filmmakers into the mainstream.
Colman Domingo and Greg Kwedar on the set of “Sing Sing” Credit: Phyllis Kwedar
With 2024’s “The Substance,” filmmaker Coralie Fargeat proved that disgusting feminist body horror has a place at the Oscars. But Norwegian filmmaker Blichfeldt may give that gorefest a run for its money with her feature debut, “The Ugly Stepsister.”
This truly nasty spin on “Cinderella” centers not on the titular orphan, but on her much-maligned stepsisters.
In a bid to gain the approval of her demanding mother (Ane Dahl Torp), the teenage Elvira (Lea Myren) goes to extremes to win the hand of the handsome Prince Julian (Isac Calmroth). This includes ingesting a tapeworm and undergoing medieval plastic surgery—to horrifying results. Blichfeldt proves that she’s not afraid to go there, delivering some of the most revolting imagery ever committed to the silver screen. You’ll gag, scream, and ultimately rejoice in the fact that you’ve found your new favorite horror filmmaker.
“The Ugly Stepsister” Courtesy Marcel Zyskind
This Japanese American filmmaker has an impressive pedigree: He’s the son of actor and Oscar-winning composer Ryuichi Sakamoto. (Last year, he released a documentary about his late father called “Ryuichi Sakamoto: Opus.”) Sora’s feature narrative debut, “Happyend,” suggests that he might be the perfect auteur to capture the spirit of our uneasy times. The film premiered at 2024’s Venice Film Festival and was subsequently picked up by Metrograph Pictures. Set in the not-so-distant future, the story follows a pair of teens as they grow increasingly wary of the surveillance technology that’s been newly installed at their Tokyo high school, putting a strain on their friendship. Sora couches this tender coming-of-age story in eerie speculative fiction.
“Happyend” Courtesy TIFF
You might recognize Sriram from Showtime’s “Billions” and NBC’s “The Blacklist.” But her filmmaking debut, “Fucktoys,” which won a Special Jury Award at SXSW in March, is proof that those guest-star gigs were just the beginning of a much weirder and wilder career. Sriram stars as AP, a sex worker in the aptly named Trashtown who embarks on an odyssey to get the funds she needs to break a curse that’s been placed on her. Shot in 16 mm, “Fucktoys” is a dreamy, strange, shocking piece of camp cinema that’s extremely frank when it comes to sex. Sriram provokes viewers with her surreal saga, showcasing a bold vision that sets her up for future success.
Annapurna Sriram in “Fucktoys” Credit: Trashtown Pictures LLC
This year’s biggest indie breakout is Victor, who wrote, directed, and stars in “Sorry, Baby.” Her buzzy feature debut was quickly picked up by A24 after taking home the Waldo Salt Screenwriting Award at Sundance. Victor turns in a warm, ragged performance as Agnes, an academic who’s left reeling in the aftermath of a sexual assault at the hands of her mentor (Louis Cancelmi). Her screenplay deftly balances tragedy with wry humor, and her director’s eye is nuanced and surprising. It’s the type of project that has universal appeal while also feeling incredibly specific to its creator’s voice and vision. It will be interesting to see what’s next for Victor, who primarily worked as an actor before “Sorry, Baby.” Will she continue performing, or do more work behind the camera?
“Sorry, Baby” Credit: Mia Cioffy Henry
This story originally appeared in the May 1 issue of Backstage Magazine.