Latest news with #IndependentSpiritAwards
Yahoo
03-03-2025
- Entertainment
- Yahoo
An Indie-Dominated Oscars Gives Us Hope for Film's Future
Best wishes to whichever journalist next attempts to ask 'Anora' filmmaker Sean Baker the now dead-tired Marvel question. No, after winning four Oscars (a new record for any filmmaker for a single film) for his latest indie effort, Baker will not be pursuing a new career in blockbuster filmmaking, and thank goodness for that. Just one week before his massive Oscars sweep, the self-professed 'indie film lifer' took to the stage at the Independent Spirit Awards to accept his Best Director win, using his platform to call out the inequity he sees in the industry he loves so well and make his allegiances known. More from IndieWire The 'White Lotus' Trio of Female Friends Is TV's Answer to Robert Altman's '3 Women' Oscars Review: Conan O'Brien Nails a Ceremony That's Sincere and Silly in All the Right Places 'I know that there are other indie film lifers in this room, those who don't see indie films as calling cards, those who don't make these films to land a series or a studio film,' Baker said at the Spirits. 'Some of us want to make personal films that are intended for theatrical release with subject matter that would never be greenlit by the big studios. We want complete artistic freedom and the freedom to cast who is right for the role, not who we're forced to cast considering box office value, or how many followers they have on social media.' Baker was not the only independent filmmaker to win big at the Oscars (and how telling that this year marked the first time Baker, who has been making signature, scrappy films for over two decades, was nominated for any Oscars at all), and the 2025 ceremony will forever stand out for the sheer number of truly indie projects that dominated there. Brady Corbet's staggering historical epic 'The Brutalist' (which A24 picked up after its 2024 Venice debut) was notoriously made for just $10 million (and almost wasn't made at all, after Corbet had to re-cast the entire feature after the COVID-19 pandemic derailed original shooting plans). On Oscar Sunday, Corbet's film walked away with three wins, including star Adrien Brody's second Best Actor win, plus nods for Lol Crawley's cinematography and Daniel Blumberg's score. 'No Other Land,' a film that notably still does not yet have U.S. distribution, picked up a historic win for Best Documentary Feature. Upon accepting his Oscar, co-director Yuval Abraham said, 'We made this film, Palestinians and Israelis, because together our voices are stronger. We see each other. The atrocious destruction of Gaza and its people, which must end, the Israeli hostages brutally taken in the crime of October 7, which must be freed.' It was the most poignant, powerful moment at this year's Oscars, and one only possible because of the endurance of, yes, an indie film project. Elsewhere, Gints Zilbalodis' endlessly charming and inventive animated gem 'Flow' became the first indie to ever win the Best Animated Feature Oscar, a masterclass in invention and making do with the tools available. The tale of a cat (and other assorted animal friends and foes) who must make their way through a suddenly flooded and human-free world was made by Zilbalodis and a cadre of recent graduates for under 3.5 million euros (Sideshow and Janus Films later picked it up). The film had such a tight budget, Zilbalodis told IndieWire at the Globes red carpet that it has no deleted scenes — everything he and his team animated is in the film. There was no room or budget for extraneous effort. Using what you've got. The numbers don't lie. Indie offerings were the best of 2024, as Neon led the pack for all winners with its five wins for 'Anora.' Big five studios like Universal Pictures and Warner Bros. had to make do with just two apiece (studio-owned specialty labels, including Focus Features, Sony Pictures Classics, and Searchlight Pictures, each also took home one win each). Also on the board? Boutique outfits Mubi and Sideshow/Janus Films, who also scored one each (for 'The Substance' and 'Flow,' respectively). Worried about the state of film? Just look at the originality and ingenuity on display across the night's biggest winners. Film isn't dead, never has been, and now suddenly feels flush with talent eager and able to make films with true artistic freedom. Now, it's on the backers of those films to meet the moment and truly support indie film and its incredible value. As of Sunday night, those films were hailed with the big-time bonus of an Oscar (or four) to boot. An Oscar may not be the end-all, be-all for these artists, but it sure does help send a message about what's worth watching these days, the best of the bunch. Backstage at the Oscars on Sunday night, a dazzled Baker spoke to the joy of simply getting into these hallowed rooms. 'This is such a great batch of films this year … for us to be in that conversation this year with these other wonderful independents, it means everything,' he said. 'To get into the same room as a movie such as 'Wicked,' a wonderful movie, but a totally different film from ours, it means we're doing something right.' Finally, an awards season lesson worth remembering. Best of IndieWire The 15 Best Thrillers Streaming on Netflix in January, from 'Fair Play' to 'Emily the Criminal' The 25 Best Sci-Fi TV Series of the 21st Century, Ranked The Best Modern Westerns, from 'The Power of the Dog' to 'Killers of the Flower Moon' to 'The Hateful Eight'
The Independent
03-03-2025
- Entertainment
- The Independent
Sean Baker wins best director Oscar for ‘Anora,' his 3rd of the night
Sean Baker won best director at the Oscars on Sunday for ' Anora,' bookending a dominant awards season for the American filmmaker whose stories seek to humanize sex workers and immigrants. Baker, 53, wrote, produced, directed and edited the film, which is also among the top contenders for best picture. The comedy-drama stars Mikey Madison as a Brooklyn exotic dancer who marries the impetuous son of a Russian oligarch. They impulsively tie the knot on a ketamine-induced Las Vegas getaway, angering his parents, who send their bumbling henchmen after the couple to force an annulment. 'If you didn't cast Mikey Madison in 'Once Upon a Time,' there would be no 'Anora,'' Baker told Quentin Tarantino, who presented the award. Baker came into the night the favorite for the directing Oscar after earning the top prize from the Directors Guild of America, a win that historically all but guarantees an Oscars victory. He also took home the top awards at the Producers Guild and Independent Spirit Awards. This year's best director lineup featured five first-time nominees in the category for the first time in nearly three decades. All had writing credits on their respective films, demonstrating the academy's growing preference for auteurs who can masterfully bring their own vision to life. For the Oscar, he beat out Brady Corbet of 'The Brutalist,' James Mangold of 'A Complete Unknown,' Jacques Audiard of 'Emilia Pérez' and Coralie Fargeat of 'The Substance.' Going into the night, Baker had the potential to win a record four Oscars for 'Anora,' which was nominated for six in total. He won for best original screenplay and best editing — a rarity as directors don't typically cut their own films. He is also up for best picture. 'Anora' brings Baker's signature style of provocative comedy from indie theaters into the mainstream, blending slapstick humor with social commentary in a way that makes lessons about marginalized groups palatable to a wider audience. He made the film on a modest budget of $6 million — an amount one producer joked is smaller than the catering budget of some of its competitors. Last year's best picture winner, 'Oppenheimer,' had a $100 million budget. Baker has been vocal about the difficulty of making independent films and surviving as an indie filmmaker in an industry that increasingly supports big-budget spectacles. In a rousing speech at the Independent Spirit Awards, he said indies are in danger of becoming 'calling card films' — movies made only as a means to get hired for projects at major studios. Without backing for independent films, he said, some of the most creative and innovative projects might never be made. Baker has long been passionate about using his craft to help destigmatize sex work. His 2012 film 'Starlet' follows a budding friendship between an adult film star and a crotchety widow who sells her a thermos full of cash at a yard sale. Baker said the connections he formed with sex workers involved in the project inspired him to feature them in several other films. He received widespread praise for 'Tangerine' (2015), in which he used three iPhone 5S smartphones to tell a story about transgender sex workers in Los Angeles. In 'The Florida Project' (2017), a single mother living in an Orlando motel turns to sex work to provide for her daughter. And 'Red Rocket' (2021) follows a retired porn actor's journey back to his small Texas hometown. ___
Associated Press
03-03-2025
- Entertainment
- Associated Press
Sean Baker wins best director Oscar for ‘Anora'
LOS ANGELES (AP) — Sean Baker won best director at the Oscars on Sunday for 'Anora,' bookending a dominant awards season for the American filmmaker whose stories seek to humanize sex workers and immigrants. Baker, 53, wrote, produced, directed and edited the film, which is also among the top contenders for best picture. The comedy-drama stars Mikey Madison as a Brooklyn exotic dancer who marries the impetuous son of a Russian oligarch. They impulsively tie the knot on a ketamine-induced Las Vegas getaway, angering his parents, who send their bumbling henchmen after the couple to force an annulment. 'If you didn't cast Mikey Madison in 'Once Upon a Time,' there would be no 'Anora,'' Baker told Quentin Tarantino, who presented the award. Baker came into the night the favorite for the directing Oscar after earning the top prize from the Directors Guild of America, a win that historically all but guarantees an Oscars victory. He also took home the top awards at the Producers Guild and Independent Spirit Awards. This year's best director lineup featured five first-time nominees in the category for the first time in nearly three decades. All had writing credits on their respective films, demonstrating the academy's growing preference for auteurs who can masterfully bring their own vision to life. For the Oscar, he beat out Brady Corbet of 'The Brutalist,' James Mangold of 'A Complete Unknown,' Jacques Audiard of 'Emilia Pérez' and Coralie Fargeat of 'The Substance.' Going into the night, Baker had the potential to win a record four Oscars for 'Anora,' which was nominated for six in total. He won for best original screenplay and best editing — a rarity as directors don't typically cut their own films. He is also up for best picture. 'Anora' brings Baker's signature style of provocative comedy from indie theaters into the mainstream, blending slapstick humor with social commentary in a way that makes lessons about marginalized groups palatable to a wider audience. He made the film on a modest budget of $6 million — an amount one producer joked is smaller than the catering budget of some of its competitors. Last year's best picture winner, 'Oppenheimer,' had a $100 million budget. Baker has been vocal about the difficulty of making independent films and surviving as an indie filmmaker in an industry that increasingly supports big-budget spectacles. In a rousing speech at the Independent Spirit Awards, he said indies are in danger of becoming 'calling card films' — movies made only as a means to get hired for projects at major studios. Without backing for independent films, he said, some of the most creative and innovative projects might never be made. Baker has long been passionate about using his craft to help destigmatize sex work. His 2012 film 'Starlet' follows a budding friendship between an adult film star and a crotchety widow who sells her a thermos full of cash at a yard sale. Baker said the connections he formed with sex workers involved in the project inspired him to feature them in several other films. He received widespread praise for 'Tangerine' (2015), in which he used three iPhone 5S smartphones to tell a story about transgender sex workers in Los Angeles. In 'The Florida Project' (2017), a single mother living in an Orlando motel turns to sex work to provide for her daughter. And 'Red Rocket' (2021) follows a retired porn actor's journey back to his small Texas hometown.
New York Times
28-02-2025
- Entertainment
- New York Times
Prada Buries the Corset
Celebrities have been thin on the ground in Milan, in part thanks to fashion week's conjunction with the Oscars, but a group came out for Prada, including Gal Gadot, Maya Hawke, Simone Ashley and Hunter Schafer. Ms. Schafer was wearing a pink top and gray briefs under a black satin coat, about a week after having worn a floral Prada sundress to the Independent Spirit Awards. Which was right after she had posted a video on TikTok noting that she had just received a new passport that, thanks to a Trump administration executive order, identified her as male. Even though, as a trans woman, she had had female gender markers on her documents since she was a young teen. 'It's impossible,' said Raf Simons, the Prada co-creative director, backstage, of Ms. Schafer's situation. 'But it's happening.' And it's part of the reason the question of femininity — what it looks like and what might define it now and in the future instead of in the past — was the question of the season for Mr. Simons and Miuccia Prada. Or rather, as Mrs. Prada said backstage, 'What kind of femininity can you maintain in this difficult moment?' We are conditioned, Mr. Simons added, to think about that issue in a classic way, which generally is also a clichéd way: to embrace Ozempic and corsets and restrictions. But what if, they asked, you liberated yourself from all that? What if you ran screaming in the opposite direction? Cue a show conceived as a riposte to the whole idea of female stereotype. One that blew a raspberry in the eye of the male gaze and then turned its back for good measure. To a certain extent the exploration of ugliness and the imposition of unattainable female ideals have always been the existential subjects of Mrs. Prada's career. Just as the tension between what she is trying to say (something political) with the seeming frivolity of her chosen vehicle (luxury fashion) has driven her designs. And her backstage conversations. Rarely, however, has the process looked so imperative. Or so much, frankly, like she and Mr. Simons were trolling the Miss Universe establishment and testing the limits of the Prada mystique. These are black times? Fine. Enter the little black dress — only imagine Audrey Hepburn playing the mad woman in Tiffany's attic, storming out to a techno beat, ratting up her hair and letting out her seams. Then the little black dress might be a loose black schmatta, with just the ghost of a bow or some big, fabric-covered buttons. And things might mutate from there. Nothing fit quite right. Not the oversize knits that looked like sweater dresses gone survivalist, or the sofa-print Doris Day housedresses that seemed to have been pulled straight off a love seat, or the leather paper-bag waist skirts so un-body-con they jounced around the rib cage on their own. Instead of lingerie dressing there were scrunched-up pajama separates with the wrinkles baked in; instead of necklaces, jeweled ribbed necklines that appeared to have been severed from well-behaved cardigans; instead of buttons on a big gray overcoat, clusters of pearls, like little iridescent pustules. Their reshaping was more of a de-shaping. The result was aggressively, kind of thrillingly, unflattering (well, except for the lush shearling jackets that looked like mink, and the slick trousers — a few pieces have to be commercial). But it was also purposeful. These clothes weren't trying to be charming and glamorous and failing. They were trying to force confrontation. They aimed to please no one except the body inside, freed from any binding, and the woman who inhabits that body. They definitely weren't pretty, but they were something even more compelling: They were relevant.
Washington Post
24-02-2025
- Entertainment
- Washington Post
Hunter Schafer on why she spoke out about being issued a male passport
SANTA MONICA, Calif. — Hunter Schafer says 'it's important to just keep track of where things are in our country,' a day after the 'Euphoria' star posted a video in which she revealed her new passport had been issued with a male gender marker. Speaking to The Associated Press on the red carpet at the Independent Spirit Awards on Saturday, the 26-year-old actor, who is trans, said she felt 'it was a good, necessary point' to share. Schafer, also a presenter at the award show, was nominated for best lead performance for 'Cuckoo. '
