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Yahoo
15-05-2025
- Entertainment
- Yahoo
With ‘Left-Handed Girl,' Sean Baker's Longtime Producer Shih-Ching Tsou Is Ready ‘to Come Back to the Director's Seat'
Furious energy down alleys and boulevards. A little girl trying to bond with her distracted mother. A familial gaggle of working-class women. Tactful editing showing off the emotional range of female characters. Humor across nuanced class divides. A massive confrontation where a woman doesn't go down without a fight. You wouldn't be too wrong if you guessed the topic du jour was Sean Baker's ('Anora') oeuvre and moviemaking style. That's because you'd also be discussing the work of Shih-Ching Tsou, Baker's longtime collaborator, friend from film school, producer of his celebrated films 'Starlet,' 'The Florida Project,' and 'Tangerine,' and co-writer and co-director of 'Take Out,' Baker's lesser-known 2004 film about a Chinese food delivery worker in New York. Particularly, you'd be ruminating on the images, characters, and craft of 'Left-Handed Girl,' Tsou's Taiwan-set first feature as a solo director, debuting this week in the Critics' Week sidebar at Cannes, branded with some of Baker's hallmarks since he co-wrote and co-produced it with Tsou, and also edited it. More from IndieWire Logging Trucks, Swimming Pools, and Bathtubs, Oh My! We Fact-Checked Our Favorite 'Final Destination' Deaths 'Dossier 137' Review: Léa Drucker Carries an Ambling Police Procedural About Institutional Corruption Talking to IndieWire over Zoom a few days before flying to Cannes, Tsou frankly spoke of her childhood as inspiration for this fleet-footed, darkly funny intergenerational drama about a mother and her two daughters returning to Taipei to open a stall at one of the city's iconic night markets, even as Tsou's own mom was present off-camera in the room during the conversation. Regarding her relationship with Baker, Tsou credited her two-decade experience working with him in preparing to direct a movie set in her hometown: 'I have learned so much working with Sean, because everything in his films is hands-on. I was doing a lot of things on set, from learning the research process to talking to people from the community. We tried to tell the story as real as possible.' About the return to directing after a long gap of 20 years, she said, 'For 'Left-Handed Girl,' I had the idea since I was very young. The first time I brought it to Sean, he thought it was really interesting. So we started to write the draft together. After every other film that we finished, we would always come back to this film. Unfortunately, the time [to make it] wasn't right. It took a while to get the funding together, to get people interested. I think it's all about timing. This is the time for 'Left-Handed Girl.' This is the time for me to come back to the director's seat.' One of the central conflicts begins when the cute five-year-old daughter, I-Jing (Nina Ye), is reprimanded by her otherwise aloof grandfather for being left-handed. He warns her that the left hand is the devil's hand and wonders why her mother hasn't forced her to become dexterous with the right. The fear this instills in I-Jing — already ignored by her busy mother, nor attended to by her mercurial older sister, I-Ann, who holds a grudge against her mother and rebels by working at a shady betel nut stand — sets off a secrets-unearthing chain of events. The cultural bias favoring right-handedness, however, stands out as a fascinating myth and theme. Unsurprisingly, Tsou is left-handed. 'My mother remembers that she 'corrected' me when I was very young. That was just the time when everybody was expected to use their right hand. You don't want to hit people sitting at the wrong table. Or you don't want to get your hands dirty when you are using calligraphy pens,' she said. Is this superstition a Taiwanese or Chinese cultural belief? An idiosyncrasy of the 80s? Tsou says, 'It's interesting. I actually asked many people. This left-handed thing is actually across cultures: in Japan, in India, in Jewish culture, in German culture, they all think the left hand is the devil's hand. My grandfather also told me about it. It's to scare kids into not using it, but there is some religious basis to it too. It's not necessarily the devil of Christianity. Just something evil.' So when I-Jing starts thinking that she just might be the devil, she begins her klepto phase, stealing trinkets from the night market where she freely roams. In this, the film's arresting central stretch, Tsou's visual language — alive, kaleidoscopic colors and low-placed cameras — really pops, showcasing how all three women, but specifically the two sisters, have gone awry. Speaking to these craft aspects, Tsou says, 'We definitely want the audience to [physically] get to I-Jing's [ground] level [in the night market]. Kids probably see more color than adults, who are more used to it.' By contrast, the betel nut stand where I-Ann works is more neon, greener, and darker. 'When you get to the noodle stand, the color is different again. The color difference shows the different inner worlds and interpretations of the three women.' For Tsou, the night market is as vital a character. ''Yi Yi' is one of the Taiwanese films I really love. Having grown up in Taipei, I recognized so many places in the film. I wanted to portray Taiwan in the same way, show places that bring back the memory, but with different places [than 'Yi Yi']. The night market is chaotic, very communal. It's not just a backdrop or a setting. It actually jumps forward. Especially after living in New York for so long, when I go back to Taiwan, I actually rediscover it. I see all the things that [locals] take for granted. That was the inspiration for me to go back to Taipei. I want to show it to the whole world.' Another of Tsou's favorites is Mike Leigh's 'Secrets and Lies,' where, at the end, a group of people get together at a party, and skeletons scramble out. Similarly, the setting for the high drama at the end of 'Left-Handed Girl' is a fancy restaurant where the extended family and friends assemble to celebrate a birthday. Staying in that one location takes a bit of getting used to, given the fluid camerawork and the nifty, high-energy editing of the film's middle. Tsou agrees, and attributes this dual-pacing strategy to Baker's vision for the edit, and also to the back-and-forth written into the script, a process that began in 2012 when she and Sean arrived in Taiwan, scouted the night market which ended up in the final film, and also auditioned a five-year-old girl with whom they shot the first trailer. The story fell into place once Baker saw Taiwan firsthand. 'Cutting back and forth in the daily lives of the characters, we compare them, see how they move through the day, how they process their environments, and how their busy outer world affects their inner world. The little girl doesn't really understand anything, but you can tell she's trying to understand the meaning of adults' conversations.' Thus the film's intentional camera placement, the characters' inner journeys, and the night market's energy captured by the fluid camera, all become assets for Baker to work with. During the actual shoot — which spanned five five-day weeks — Baker could not be present since at the time due to challenges in gaining a visa to Taiwan. But he was still a significant presence. 'When we were doing camera tests,' said Tsou, 'I had conference calls with Sean. We sat down together with the DPs to tell them how we should shoot the film. We wanted the night market to be fluid. In the restaurant, we wanted to see everybody's facial reactions. We collaborated to get what Sean wanted in the end.' The actors were equally crucial to the success of the film. 'I learned casting through working on Sean's films, [beginning with] 'Starlet,' where I found the old lady in the locker room in LA. [For 'Left-Handed Girl,'] I found I-Ann on Instagram. I didn't want to do a lot of street casting, since I don't live in Taiwan, so I tried other ways, like going online or asking friends. I also went the traditional casting director route, but I didn't find anybody who's authentic. The little girl was recommended by a casting director, and she already did a lot of commercials in Taiwan, so she has a really nice presence.' Given the tumults and local challenges presented by casting, Tsou was the most surprised by Shih-Yuan Ma, the Instagram find who plays the older teenage daughter I-Ann. 'She has never acted before. So I was really surprised when she gave us such a wonderful performance. Especially during the scene when she was crying on the toilet, she cried the first time on cue. After we shot everything, she said, wait, can I do it again? I want to do it a different way. And she did. I was like, wow. She's such a natural grown actor.' Pondering on the similarity in themes of her two films 20 years apart ('Take Out' and 'Left-Handed Girl'), Tsou said, 'My mom has six sisters. Each is married to a different kind of family, some with more money than others, so when we get together, we have a weird dynamic. Sometimes, you [as an individual] end up doing everything on your own. You hope your family will help you, but in the end, everybody has their own problem. So I think it's kind of interesting to see how we're weird and also have a very real family dynamic on screen.' That dynamic, Tsou hopes, is one Taiwanese audiences will identify with. The film has already been invited to the Golden Horse Film Festival in Taipei. 'That's a huge launch pad for our film,' she said. On the Croisette, though, which she is so excited to visit for the premiere, she will benefit from Cannes attendees' curiosity about Baker's next project, a year after 'Anora' won the Palme d'Or, before going on to win multiple Oscars. Surely, the devil's hand is entirely the stuff of myth, and won't influence this movie's Cannes journey. 'Left-Handed Girl' premieres in Cannes Critics' Week on Thursday, April 15. Best of IndieWire The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal' Martin Scorsese's Favorite Movies: 86 Films the Director Wants You to See Christopher Nolan's Favorite Movies: 44 Films the Director Wants You to See
Express Tribune
19-03-2025
- Entertainment
- Express Tribune
2025 best picture winner 'Anora' dominates Hulu charts after Oscar victory
Sean Baker's 'Anora', the 2025 Best Picture Oscar winner, is making waves again—this time on Hulu. The high-stakes screwball comedy, which won Best Picture, Best Director, Best Original Screenplay, and Best Editing, along with Mikey Madison's Best Actress win, has quickly risen through the streaming platform's charts. Baker, known for his raw, neorealist filmmaking, has long been celebrated for highlighting America's overlooked and underprivileged. While 'Tangerine' (2015), 'The Florida Project' (2017), and 'Red Rocket' (2021) cemented his status as an indie powerhouse, 'Anora' marked his mainstream breakthrough. The film follows Mikey Madison's Ani, an erotic dancer and sex worker in New York City who becomes entangled in a whirlwind romance with Ivan Zakharov (Mark Eydelshteyn), the son of Russian billionaires. Their dynamic takes a turn when Ivan's oligarch parents attempt to annul the marriage, sparking a tense and chaotic chase—one that plays out with Safdie brothers-style energy. A box office success, 'Anora' grossed $52 million against a $6 million budget after its theatrical release in October 2024. It later topped iTunes charts in multiple countries before making its Hulu debut on March 17, 2025. According to FlixPatrol, the film entered Hulu's streaming rankings at No. 4, with projections suggesting it will climb even higher. To claim the top spot, 'Anora' will need to surpass Bill Burr's standup special 'Drop Dead Years' and 'Force of Nature: The Dry 2', but its Oscar prestige and strong audience interest give it a clear advantage. With Hulu's viewership surge, 'Anora' solidifies Baker's rise in Hollywood, proving that his unique storytelling and focus on marginalized voices continue to resonate with audiences worldwide.
Express Tribune
17-03-2025
- Entertainment
- Express Tribune
Did Baker throw a 'hissy fit' on the set of 'Anora'?
A day after Anora dominated the Oscars, an anonymous social media post threatened to disrupt its Cinderella indie-film narrative. On Crew Stories, a popular industry message board, an unnamed critic alleged that director Sean Baker avoided working with the major crew union IATSE during part of the film's 2023 production. The post claimed that by staying non-union, the production cut costs at the expense of crew members' ability to accrue union benefits. When the crew successfully unionised mid-shoot, Baker allegedly reacted poorly, throwing a "hissy fit" and becoming distant toward the crew. While anonymous online critiques of celebrated films are common, this one gained traction, prompting discussion about what really happened. Some crew members, including Anora's prop master, a grip, and a best boy grip, publicly defended the production. The Hollywood Reporter reached out to dozens of people involved with the film, and though only a few spoke, they described a fairly standard transition - known as a "flip" - from a non-union to a union production. A late-stage unionisation For reasons unknown, IATSE did not step in early in Anora's production. The union reportedly intervened just days before the New York portion of the film's two-month shoot wrapped, shortly before the production moved to Nevada. Given Baker's reputation in indie filmmaking - his prior films Tangerine, The Florida Project, and Red Rocket garnered awards attention - some industry insiders found it surprising that IATSE hadn't stepped in sooner. Of those films, only The Florida Project had been made under an IATSE contract. It remains unclear who reported Anora to IATSE, alerting Local 52 (a branch of the United Association) that the non-union shoot could have been eligible for a Low Budget Theatrical Agreement, which would have required the production to contribute to union health and pension benefits. The film's producers declined to comment. A push to unionise? Two Anora crew members told THR that the flip came as a surprise to nearly everyone on set. According to one, "99.9 per cent of us had no idea." Wages were already close to union scale, and working conditions were described as standard for a non-union indie shot in New York. The biggest complaint? Catering. "We were shooting in Brighton Beach, so we just ran out for great Russian food. It was awesome," another crew member recalled. A third crew member described Anora's working conditions as "nothing out of the ordinary" beyond a few long days. Public defenders of the film, including prop master Kendra Eaves, best boy grip Gabriel Armstrong, and grip Rachel Parrella, insisted they were paid fairly. "I got paid fairly and was never lied to about the budget," Eaves wrote on Instagram. Parrella added, "[Baker] paid us the right wage from the start." Once IATSE was notified, Local 52 circulated a unionisation vote, which passed overwhelmingly. Union representatives arrived on set while Anora was filming at a private airfield in Amityville, Long Island. The set briefly shut down as negotiations took place. Sean Baker's response While the social media post painted Baker as irate, crew members who spoke to the publication described a different scene. According to one, Baker reportedly addressed the crew, expressing appreciation and getting visibly emotional. "He was almost crying - not sobbing, but certainly beyond misty," the crew member said. They recalled no "hissy fit." A contract agreement was reached on March 15. From a practical standpoint, the flip meant the production now contributed to union benefit plans, and for non-union crew, it could serve as an entry point into Local 52. But the attempt to initially avoid an IATSE contract wasn't unusual for an indie project. Industry insiders noted that many $6 million films budget for a potential flip but start non-union to stretch resources.
New York Times
03-03-2025
- Entertainment
- New York Times
Sean Baker Wins Best Director Oscar for ‘Anora'
Whoever won the prize for best director tonight was going to receive their first directing Oscar, but no nominee has labored as a filmmaker more single-mindedly for a longer time than Sean Baker. He was just announced as the winner for 'Anora.' A Cinderella story that foregrounds hot topics like class, immigration and global capitalism through the story of a stripper who initially accepts money for sex, 'Anora' is in many ways typical of Baker's oeuvre. Like several of his past movies, including 'Tangerine' (2015) and 'The Florida Project' (2017), it blends comedy and drama, depicts sex workers sympathetically and makes copious use of nonprofessional actors. But 'Anora' signaled Baker's mainstream recognition. Nearly a year ago, the film won the top prize, the Palme d'Or, at the Cannes Film Festival; more recently, it picked up top prizes from the directors and producers guilds. When the Oscar nominations were released earlier this year, Baker received his first nods — for picture (as one of the producers) and editing, along with directing and screenwriting — and the actress Mikey Madison, who plays the title character, also received her first nomination, for lead actress. Baker beat out directors Jacques Audiard, for 'Emilia Pérez'; Brady Corbet, for 'The Brutalist'; Coralie Fargeat, for 'The Substance'; and James Mangold, for 'A Complete Unknown.'
Express Tribune
01-03-2025
- Entertainment
- Express Tribune
Long live Indie Cinema!
"Indie film is struggling right now, more than ever," said Sean Baker during his speech after he won the best director for Anora at the Film Independent Spirit Awards 2025 on February 23. Known for indie gems such as The Florida Project and Red Rocket, Baker spoke at length about the lack of artistic freedom in cinema and making independent films because of their worth and not to use them as a calling card to land studio projects. He touched upon casting issues, unreliable back-end revenue, and the difficulties in financial survival while working on one film for years on end. Watching the American filmmaker reminded me of my conversation with Madari filmmaker Seraj us Salikin, whom I interviewed for a book published by Busan Asian Film School in 2023. "Independent filmmaking in Pakistan is like going on a never-ending war," he had told me. Gearing up to release my directorial debut, Indus Echoes, a Sindhi language feature, later this year, I believe my war has just begun. From film financing to production and distribution, an indie filmmaker is supposed to cross all hoops and hurdles for years just to see his film play in cinemas. This is not a complaint; no one ever said filmmaking was easy. This is about the broken system in which an independent filmmaker is supposed to survive and keep making films. Death of DVD "Gone are the days of DVD sales that allow for greater risk to be taken on challenging films. That revenue stream is gone, and the only way to see a significant back-end is to have a box office hit with profits that far exceed what any of our films will ever see," continued Baker at the award show. "If you are a writer-director trying to break in right now, there's a good chance you're making a film for free or making next to nothing on production or sale. How do you support yourself with middle or no income for three years?" Baker brings up multiple points here. With little support, indie filmmakers keep on keeping on. I, for one, write and teach and exploit all my skill sets. If I weren't able to leverage my parallel careers, it would've been almost impossible to finish making Indus Echoes. Ask Salikin and he'd tell you the same about Madari, and so will many other indie filmmakers. Until recently, films which didn't have a banger opening weekend at the box office could still recover money and even make profits due to DVD sales. It took the pressure off, and that meant filmmakers could experiment and innovate, which benefited the entire industry in the long run. With streaming and a limited (if any) theatrical run, all the profits must be made right now. If not, a film is considered unsuccessful. However, low and mid-budget indie films are equally important for a successful industry. If an industry only produces big budget spectacles, it's bound to crash and burn. Even in Pakistan, we tend to only focus on big-budget, star-driven romcoms or action comedies, and stubbornly refuse to offer anything new. And the result for the past decade has been a slow loss of audiences' trust in local filmmakers, which often results in even films with better storytelling, characters and production suffering at the box office. Similar to what Baker remarked, landing a big studio project isn't the sole reason we make independent films. "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," he said. "We want complete artistic freedom and the freedom to cast who is right for the role, not who's [been] forced to be cast, considering box office value or how many followers they have on social media." In Pakistan, if a film isn't supported or distributed by a major TV network and doesn't include the top stars in the lead cast, it becomes even more difficult to finish and release. Recently, an interviewer asked me why I didn't cast well-known stars in Indus Echoes and opted for theatre actors like Vajdaan Shah, Ansaar Mahar and Samina Seher. My response was along the same lines. It has to do with the actors' abilities, and whether they fit the roles, and not how big their social media following is. A need, not luxury A successful film industry has room for all kinds of films, be it commercial blockbusters, mid-range dramas, and even arthouse and experimental cinema. To disregard indie cinema is a deadly sin that disrupts the entire ecosystem of the industry. Independent cinema is not a luxury for filmmakers indulging in their own obsessions, it's essential to the growth and evolution of culture, for us to tell stories important to us and the people. Countless all-time great films, and entire film movements started off with independent films. The filmography of Jim Jarmusch, Charlie Kaufman, Noah Baumbach and many more would be quite different if they had chosen the popular path. And it's not far-fetched to say that a new kind of Pakistani cinema, a new film movement is taking its root in local indie films, despite or perhaps because of the quagmire of the mainstream industry. New, unique filmmakers like Seraj us Salikin, Ali Sohail Jaura, Kainat Thebo, yours truly and dozens more are gathering to build an indie film scene and showing up and showing out; it's up to the system now to expand and adjust accordingly to become sustainable. "The system has to change, because this is simply unsustainable," Baker concluded. "We are creating a product that creates jobs and revenue for the entire industry. We shouldn't be barely getting by. Creatives that are involved with projects that span years have to begin getting much higher upfront fees, because back-end simply can't be relied upon any longer. We have to demand that. If not, indie films will simply become calling card films. I know that's not what I signed up for. So, let's demand what we're worth." Long live indie cinema!
