Last week, we broke down finance tips from filmmakers and executives who shared their experience and know-how at this year’s Forum. The thing is that there was so much good information at the two-day event, that we couldn’t fit it all into just one post.

We’re back this week to wrap up sharing all the different ways our panelists recommended to get your project financed. We’re featuring insights from our Producers’ Roundtable, Indie TV talk and some LA specific advice from the Home Grown panel.

 

Producers at the Table: Independent Producing in Uncertain Times

The producers at this year’s table had a lot to say about what types of films they are looking to make, and what films work for the marketplace right now. Hartbeat’s Aaron Edmonds told moderator Gita Pullapilly (Writer/Director, Queenpins, Beneath the Harvest Sky) that his company looks for humor, heart and heat, with heat being something in the zeitgeist that people can get excited about. Producer Sev Ohanian (Sinners) brought his own metric for what he thinks can be a successful project: P.U.G.S. The acronym stands for Propulsive, Unique, Genre-blending, and Surprising. He thinks audiences more than ever are smart and want something they’ve never seen before.  Producer Lauren Mann (Joyland) talked about the importance of being both realistic, budget-wise, and creatively ambitious. She likes filmmakers that can make budgetary concessions and still make an exciting project and talked about how Daniels were a perfect example of that when they brought Swiss Army Man to her.

Everyone talked about the difficulty of being able to shoot in the US right now. Lila Yacoub (Ladybird) said that many studios and financiers aren’t willing to shoot in the States when things like cost of living and labor costs are cheaper in Europe. Ryan Zacarias, producer of If I Had Legs I’d Kick You, talked about a project he’s currently making in Hungary, and said the budget was 5-times less than it would have been if it was shot stateside.

Foreign presales were another topic that the panel acknowledged was difficult. More and more, the foreign market isn’t looking for the same stars as the US is, and that can make creative decisions more difficult. Both Edmonds and Zacarias spoke about making projects without foreign presales because they decided that having the right cast was more important.

Ohanian talked about how different the market is today vs. pre-Covid. Artistic projects aren’t getting picked up as much from festivals, and budgets are getting extremely tight. Therefore, he recommended leaning into something that an audience already wants, like genre, to make a project more appealing to buyers. Others like Yacoub still encouraged filmmakers to still swing for the fences but be smart about it. “I encourage you guys to still make those art films because I love them and I think there’s an audience for them. But you really do have to keep it as lean as possible.”

 

Home Grown: Spotlight on L.A.

The Home Grown panel, moderated by Half Initiative’s Shari Page, started with an acknowledgement that shooting in LA is extremely tough at the moment. When producer Alex Orlovsky was making Lurker, the team didn’t expect a tax-credit and financed as if they weren’t going to get one. The things that made shooting in LA make sense were that it was such an LA focused story, and the budget was small enough. Missy Mansour, producer of Loot talked about making deals with locations that want exposure, like hotels and restaurants. Pamala Buzick Kim, co-lead of STAYinLA, talked about the California tax credit and how small benefits like both shooting and editing in California increase the amount of your credit, and how small credits like those can add up. She also said that in talking to local LA business owners, they miss productions using their businesses as locations and want to make deals that work both for them and the filmmakers.

 

Screen Refresh: Independent Voices on TV

Wendy Calhoun, writer/producer of Empire and  Justified, spoke with TV creators about how financing in TV differs than in the film world. Kit Williamson, creator of Eastsiders, talked about how important it is to create an audience for yourself, and looking at tools like Patreon as a new way to crowdfund. Zoe Lister-Jones, creator of Slip and Band-Aid, encouraged being scrappy and having not only a pilot script, but even a full series written or a shot pilot that was independently financed. She also emphasized writing things that can be easily produced on a budget.  Billy Luther, who came from independent film and now writes and directs on Dark Winds, looks for residencies, fellowships and grants and called out sources like the Film Fatales Instagram page, as places to stay abreast of deadlines for grants. Calhoun added that brands have been reaching out to creators directly to create online series for them, and that these projects don’t have to feel like sponsored content.

One benefit that going the indie route can provide for showrunners is that there’s more control for the creator. Williamson started in the crowdfunded world and moved on to creating traditional studio projects. There he saw how difficult it was to have a project you pour your heart into fall apart or disappear and now looks forward to new opportunities in the indie space.  “When approaching an independent project, I know moving forward, it’s going to be important, especially for lower budget projects that I get to maintain ownership and agency in those projects,” he said.

 

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Awards season is upon us. Come November, film lovers can expect star-studded casts, emotionally-riveting storylines, and directors at the peak of their craft. These are the movies you wait all year for. 

This month’s Don’t-Miss Indies list has something for everyone… new films from veteran auteurs Lynne Ramsay, Richard Linklater, and Chloé Zhao, promising up-and-comers Clint Bentley and John-Michael Powell, and international films from two multi-talented women directors. We’re highlghting intergenerational familial stories that promise hope as well as revenge, a UFO documentary that might just convince the most skeptical among us, and biopics (aka Best Performance territory) galore. 

Read on for more info about these Don’t-Miss Indies – and let’s just say that the ties to our Film Independent Presents screening series are strong.

DIE, MY LOVE

When You Can Watch: November 7

Where You Can Watch: Theaters

Director: Lynne Ramsay

Cast: Jennifer Lawrence, Robert Pattinson, Sissy Spacek, LaKeith Stanfield

Why We’re Excited: If the discordant, colorful, and absolutely manic trailer doesn’t draw you in, the cast of Oscar-winner Jennifer Lawrence and indie king-of-all-things-strange-and-wonderful Robert Pattinson should. What’s most exciting about Die, My Love, however, might just be its director, the indelible Lynne Ramsay. The Scottish auteur has never had a cinematic misstep, between the hauntingly unforgettable We Need To Talk About Kevin and the darkly hypnotic You Were Never Really Here, starring a ‘totally terrifying’ Joaquin Phoenix. Between the cast, filmmaker, and distributor (Mubi, of last year’s The Substance), Die, My Love looks to be a stylish yet unflinching look at a woman in the throes of madness that could land Lawrence her next nomination.

 

 

RENTAL FAMILY

When You Can Watch: November 21

Where You Can Watch: Theaters

Director: HIKARI

Cast: Brendan Fraser, Mari Yamamoto, Takehiro Hira, Akira Emoto

Why We’re Excited: Rumored to be a crowd-pleaser and awards contender for Searchlight, this dramedy stars Oscar-winner Brendan Fraser (The Whale) as an American actor who lands a gig at a Japanese agency playing stand-in roles for strangers. The concept comes from Japanese rental family services, which hire actors to play a client’s absent family member. As Frasier’s character forms unexpected bonds with his clientele, however, the lines between performance and reality begin to blur. Rental Family is directed by HIKARI, a Film Independent Screenwriting Lab Fellow who also directed episodes of the exceptional mini series Beef for Netflix. Rental Family promises a heartfelt look at the meaning of family and the complex roles we play within them.

 

 

CHRISTY

When You Can Watch: November 7

Where You Can Watch: Theaters

Director: David Michôd

Cast: Sydney Sweeney, Ben Foster, Merritt Wever

Why We’re Excited: When actors undergo a dramatic transformation for a role, they’re often rewarded for it. Just ask Oscar-winners Nicole Kidman, Matthew McConaughey, and Charlize Theron. Christy has long been a passion project for Sydney Sweeney, who transformed herself physically to play real-life boxer Christy Martin. This biographical sports drama is directed by David Michôd (Animal Kingdom), and co-stars Ben Foster as Christy’s manager and husband. Christy Martin was the most famous woman boxer of the 1990s, achieving unprecedented professional highs and surviving harrowing personal lows. She’s an intriguing subject no matter who plays her, but Sweeney’s performance is already garnering awards buzz. Additionally, the film’s casting director, Kate Sprance, is a Film Independent member, as are producers Justin Lothrop, Brent Stiefel, and Amanda Lenker Doyle.

 

 

TRAIN DREAMS

When You Can Watch: November 7, November 21

Where You Can Watch: Select Theaters (Nov 7), Netflix (Nov 21)

Director: Clint Bentley

Cast: Joel Edgerton, Felicity Jones, Kerry Condon, Will Patton

Why We’re Excited: Train Dreams gained momentum on the festival circuit after having its world premiere at Sundance, where it earned rave reviews. Variety even called it a ‘Best Picture Sleeper’. Based on the novella by Denis Johnson, this meditative exploration of man in nature is directed by Clint Bentley, who co-wrote the redemptive Sing Sing. Focused on a railroad worker in early 20th Century America, the film stars Joel Edgerton as Robert Grainier, who finds unexpected beauty and meaning despite the rapidly changing country around him. Although Train Dreams is a period piece, it’s hard not to draw parallels between turn-of-the-century industrialization and our current technological advancements. Watching a character maintain their humanity in spite of it just might be the antidote we need. Greg Kwedar, a writer/executive producer on the project, is a Film Independent member, as is Parker Laramie, the editor/co-producer.

 

 

LEFT-HANDED GIRL

When You Can Watch: November 14, November 28

Where You Can Watch: Select Theaters (Nov 14), Netflix (Nov 28)

Director: Tsou Shih-Ching

Cast: Janel Tsai, Nina Ye, Brando Huang, Akio Chen

Why We’re Excited: Co-written, edited, and executive produced by last year’s Oscar-winning director and Film Independent member Sean Baker, Left-Handed Girl is helmed by Tsou Shih-Ching. Baker and Shih-Ching are frequent collaborators; she produced his films Tangerine, The Florida Project, and Red Rocket. Left-Handed Girl is her solo directorial effort, a familial drama set at a night market in Taipei. It follows a single mother and her two daughters as they open a small restaurant in the heart of the Taiwanese capital. Shih-Ching fought for funding for many years before shooting the film on an iPhone, showcasing her indie-filmmaking prowess. Selected by Taiwan as their Best International Feature for the 2026 Academy Awards, this slice-of-life drama has a lot going for it.

 

HAMNET

When You Can Watch: November 27 (limited), December 12 (wide)

Where You Can Watch: Theaters

Director: Chloé Zhao

Cast: Jessie Buckley, Paul Mescal, Joe Alwyn, Emily Watson

Why We’re Excited: Before she won the Oscar for Best Director, Chloé Zhao was a Film Independent Artist Development Fellow. Her debut feature, Songs My Brothers Taught Me, was nominated for Best First Feature at the Independent Spirit Awards. Hamnet is her much-anticipated return to independent film after Nomadland won her the Oscar. It stars Jessie Buckley and Paul Mescal and is based on the novel by Maggie O’Farrell. The story is a fictionalized account of William Shakespeare’s creation of Hamlet after his son Hamnet’s untimely death from bubonic plague. While many know Hamlet as a revenge play, it is also about grief. Early reviews call it ‘devastating’ and ‘emotionally shattering’, so get your tissues ready.

 

 

BLUE MOON

When You Can Watch: October 24

Where You Can Watch: Theaters

Director: Richard Linklater

Cast: Ethan Hawke, Margaret Qualley, Andrew Scott

Why We’re Excited: Longtime auteur Richard Linklater has been busy. This year, in addition to Blue Moon, he’s debuting Nouvelle Vague, about the making of the French classic Breathless. Blue Moon is about Broadway songwriter Lorenz Hart, played by longtime collaborator Ethan Hawke. Hart was one half of the Broadway musical duo Rodgers and Hart, a partnership that lasted more than twenty years before Rodgers left to work exclusively with Oscar Hammerstein. The film picks up post-breakup, with Hawke’s Hart drinking away his sorrows at Sardi’s in NYC the same night Rodgers and Hammerstein’s Oklahoma! premieres, forcing him to watch his former partner’s greatest success from the sidelines. It promises to be a talky showcase for the multi-talented Hawke, with the added bonuses of Andrew Scott as his former partner Rodgers and Margaret Qualley as a much younger love interest.

 

THE AGE OF DISCLOSURE

When You Can Watch: November 21

Where You Can Watch: Select theaters and Amazon Prime

Director: Dan Farah

Why We’re Excited: For the conspiracy theorist in all of us, The Age of Disclosure is the UFO documentary everyone’s talking about. Whether you like it or not, aliens have been a growing topic of conversation, fueled by whistleblowers and Congressional hearings regarding UAP (unidentified aerial phenomena). Age of Disclosure focuses on the conspiracy theory that the government has concealed information about extraterrestrial intelligence for decades. Its title and message advocate for declassification and disclosure. It features the former director of the UAP task force, Jay Stratton, and is narrated by former U.S. Department of Defense official Lue Elizondo. Whether you believe the truth is out there or not, these participants only add to the documentary’s credibility. Critics are calling it ‘really, really convincing’…  so much so, it might just make a believer out of you yet.

 

 

ALL THAT’S LEFT OF YOU

When You Can Watch: November 28 (Los Angeles)

Where You Can Watch: Select theaters

Director: Cherien Dabis

Cast: Cherien Dabis, Adam Bakri, Saleh Bari, Maria Zreik

Why We’re Excited: A multigenerational drama produced by Mark Ruffalo and Javier Bardem, All That’s Left Of You is Jordan’s selection for best international feature at the Oscars. The film ‘powerfully captures the true story of Palestine that has never been told before in a way that is both artistic and authentic’, says Bardem. All That’s Left Of You spans nearly 75 years in the lives of one Palestinian family, as they grapple with loss and displacement. Cherien Dabis, the Palestinian-American director and a Film Independent member, debuted her first film Amreeka at Sundance, and has directed several episodes of television, including an Emmy-nominated episode of Only Murders In The Building. All That’s Left Of You is a moving portrait of family and intergenerational trauma, reminding us just how much the past informs the present. Geralyn White Dreyfous, executive producer, is also a Film Independent member.

 

 

VIOLENT ENDS

When You Can Watch: October 31

Where You Can Watch: Select theaters

Director: John-Michael Powell

Cast: Billy Magnussen, James Badge Dale, Alexandra Shipp

Why We’re Excited: With its title referencing Romeo and Juliet, Violent Ends is the second film on this list inspired by Shakespeare. A southern revenge thriller about star-crossed lovers set in the Ozarks, it stars Billy Magnussen and features Alexandra Shipp as his romantic interest. Billy’s character is trying to escape his crime family’s legacy, only to get pulled back in, with tragic results. While Magnussen is always excellent, reviews are calling this performance the best of his career, and director John-Michael Powell is getting favorable comparisons to early Scorsese and Tarantino. A tense, emotional thrill ride, the film questions the ties that bind— especially those forged in blood.

 

 

KEY

Film Independent Fellow or Member

Film Independent Presents Screening, Q&A

Microbudget

Filmmaker or Lead Characters of Color

Film Independent Spirit Award Winner or Nominee

Female Filmmaker

LGBT Filmmaker or Lead LGBT Characters

First-time Filmmaker

LA Film Festival Winner or Nominee

 

 

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Last month, Film Independent held its annual Forum at the DGA complex here in Los Angeles. A wide range of topics were discussed but given the interesting times our industry is going through, one that kept coming up was how to get financing for your film.

Producers, financers, executives and more all gave out valuable advice over the two days and multiple panels. We’re breaking down talk-by-talk some of the advice that was doled out to this year’s attendees. In part one, we’ll take a look at what was said in three panels, The Money Puzzle: Financing Piece by Piece, The New Wave Filmmakers: Making Movies for Change and Shopping Your Project: A Pitching Clinic, and we’ll bring you even more advice in part two.

 

The Money Puzzle: Financing Piece by Piece

Our very own Daniel Cardone spoke with three filmmakers about the art of assembling financing from many different places, which might be the best description of independent filmmaking I can think of. Producer Jen Blake, Partner at Diversity Hire Ltd talked about how Fiscal Sponsorship is “America’s version of grants and non-recoupable money,” where unlike other countries with government art’s programs that can provide funding, U.S. films can use Fiscal Sponsorship (like Film Independent’s Fiscal Sponsorship Program) to turn non-recoupable funds into non-profit donations that can be used as tax write-offs.  She noted that some large corporations like tech companies match donations that employees make, and that can double or triple the amount that you receive from one person’s fiscal sponsorship.

The film she produced, A Sad and Beautiful World, is also an international co-production, and she shared her experience with international grants. Long story short, they can be complicated, the money doesn’t come in right away, and filmmakers should have a plan for that.

Producer Sarah Strunin talked about her experience in the documentary world. She emphasized finding an issue that institutions and large donors care about. She also noted that many non-fiction grants require you to have a fiscal sponsor. After money for a film she worked on fell through, she and her team decided to go the crowdfunding route and not only lean into the importance of the subject matter, but also the appeal of a tax write-off.

Strunin then broke down how to fund a documentary in stages. For development, the funds were all out-of-pocket. Once there is something to show, the team went out fundraising, including going to pitch forums, including Points North, and speaking with international financiers like producers that can open up co-production deals.

Writer/Director Izzy Shill talked about the difficulty of asking for money and really knowing why a person should give you money they won’t or probably won’t make back. Her microbudget feature Going Nowhere was made in Louisville Kentucky, and she got half of the funding for the film from the community in Louisville and said that it was a point of pride for the people there to have a film feature their city. She noted that for many people being let into the world of filmmaking is a great price of admission, whether that’s learning the ins and outs of one particular part, like the legal or financial aspects of a production, or wanting a bit part in a film. If you know what you have of value as a filmmaker, you can share that as part of the reason why you should be getting their money.

 

The New Wave Filmmakers: Making Movies for Change

In a panel about issue driven films moderated by Rosalina Jowers of Inside Projects, three filmmakers talked about the difficulties and rewards of making a film that is both impactful and a piece of entertainment.

Documentary director Sam Mirpoorian spoke about the importance of capturing the zeitgeist. He was already making a film about midwestern farmers when the first Trump administration started a trade war that affected soybean farms. When the news started focusing on the farmers plight, funders became more interested in his film. He also was honest about the risks he took to get his project made, including taking a loan out in his name. One thing he strongly recommended was to always have more projects ready to go, because when you do find funders and distributors, they generally like to invest in known entities, and being reliable to both execute and keep coming up with ideas can turn a one project deal into a lasting relationship.

Shoshannah Stern, director of Marlee Matlin: Not Alone Anymore, comes from a family that’s all deaf. When PBS wanted to make a documentary about deaf icon Marlee Matlin, the one condition Matlin had was the film had to be directed by a deaf woman, and that’s how Stern became involved. She warned against trying to make a story that you think is a “safe bet” from a funding or distributing perspective. She emphasized that investors respond to authenticity.

The story of Rosemead started out as an LA Times article that producer Andrew Corkin couldn’t get out of his head. It deals with difficult and heavy subject matter, and even though Lucy Liu was attached to star in the film, Corkin still had trouble finding funding. He mentioned organizations like Impact Partners that do still look for projects that have a social message and really helped get the film made, but still stressed the importance of knowing who your film is for and how to get people to care about your film. While acknowledging how hard it is to get funding in this atmosphere, Corkin encouraged people to be persistent, because it can only take a couple “yes’s” to get a project off the ground.

 

Shopping Your Project: A Pitching Clinic

While the art of pitching was the main event at this panel moderated by Film Independent’s Angela Lee, the end result of a successful pitch – getting financing – inevitably became a big part of the discussion.

Chris Quintos Cathcart, Co-Founder of Unapologetic Projects, a funder talked about what her company looks for in a project to make sure the films are profitable. She said she looks for projects that have gotten grants and gone through Labs like the Film Independent Artist Development Labs, as a way to make sure the project and team can deliver a great end product. “I need to know that I can write you a million-dollar check, and I’m going to get a movie on the other end of that,” she said. Quintos Cathcart acknowledged that films are risky investments, and talked about emphasizing “Return on Impact” versus “Return on Investment” when it comes to talking with investors.

Nina Parikh, the director of Film Mississippi, talked about local tax rebates and incentives. The money from those incentives are generally guaranteed as long as the bookkeeping is all in good order, and in the case of the state of Mississippi means 25%-35% back of all money spent in the state, including payroll. Another benefit is that the incentive comes in a cold hard cash. A large difference between incentives and other forms of financing is that it comes after the money is spent. That can be mitigated by loans though, if you have a letter-of-intent to show the lender.

Finally, Brenda Robinson an executive producer of films such as Passing and the Acting President of Film Independent explained how relationships are some of the most valuable things for investors, and for filmmakers to appreciate that most of the time, the investor is on the filmmaker’s side and wants to be additive to the process, “making sure you see people as a whole person, not as a dollar sign; someone who cares and has sincere intentions of being your partner and not just the check writer.”  In her work with Impact Partners, she sees equity investing coming in more because with some projects seeing bigger audiences, money is being recouped. On the flip side, grant money is coming into the fiction world as finding traditional investors for indie productions becomes more difficult and investors want to see that broad “Return on Impact” that a fiction story can provide. She left the audience with a reminder of how the relationship between investor and filmmaker is a partnership and that it’s an equal one at that. “You are the one -the storyteller- with the talent. You have what the rest of us don’t have, and that’s so special. You have leverage, it turns out.”

 

 

For over 40 years, Film Independent has helped filmmakers get their projects made and seen. The nonprofit organization’s core mission is to champion creative independence in visual storytelling and support a community of artists who embody diversity, innovation and uniqueness of vision.

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Welcome to Fiscal Spotlight, a special monthly round up of projects—at all stages of production—working their way through Film Independent’s Fiscal Sponsorship pipeline. Enjoy!

***

A relationship is a coming together of two people with two different histories, and two different perspectives. There’s strength in those differences, but there can also be tension. When difficult times come for both partners, those differences can reveal different ways forward. The path chosen can be one decided on together, or two separate paths that can end up driving the couple apart.

The couples in the four films in this month’s Fiscal Spotlight all have come to a difficult point in their relationships and must decide if they will take on their challenges together or alone.

In Coparenting Storey, two exes work out how to navigate their history, their families and their coming child. In Good Evening Marshall (Good Evening, Geraldine), a literal reset button wreaks havoc on a couple trying to hold things together when they receive difficult news. With Switches, a couple tries to save their relationship by taking a pill that allows them to switch bodies & lives. Finally, in Tomorrow Night, an elderly couple has to find a way to come together to deal with the uncomfortable physical aspects of aging.

Through Fiscal Sponsorship, independent filmmakers and media artists gain access to nonprofit funding, helping bring their unique visions to life. These projects embrace diversity, push creative boundaries, and showcase the power of independent storytelling. Want to explore the full lineup of sponsored projects? Head over to our Sponsored Projects page and take a look!

Keep reading to learn more, including how you can support these projects.

TOMORROW NIGHT

Project type:  Fiction Short
Project status:  Development
Writer/Director:  Drew Marquardt
Producers: Halley Lamberson, Wei Dai

About the Project: An elderly couple’s deep bond is tested by the physical and emotional tolls of aging, leading them to find unexpected intimacy in the most awkward of moments.

Meet the Filmmaker: Drew Marquardt — Writer/Director

Drew is currently the producer of the screenwriting podcast Scriptnotes with John August (Big Fish, Aladdin) and Craig Mazin (Chernobyl, The Last Of Us). His most recent short Act of War won multiple student filmmaker awards in the United States. He holds a BFA from the Royal Conservatoire of Scotland and is a recent MFA graduate of USC’s Peter Stark Producing Program.

Project Page

 

SWITCHES

Project type:  Fiction Short
Project status:  Production
Producer: Brandon Broussard

About the Project: Switches is near future comedy about a couple on the brink of divorce who take a pill to save their marriage.

Meet the Filmmaker: Brandon Broussard — Producer
Brandon Broussard started the feature writing team, Murder Ink with Hudson Obayuwana and Jana Savage in 2015. Since then, his writing team has had several films produced including The Perfect Match for Lionsgate, #RealityHigh for Netflix and Praise This for Universal Studios. Their spec, Homecoming based on Brandon’s experience at Howard University was on the 2021 Blacklist and is currently set at Lionsgate with he and his team producing. Currently, they’re writing the latest The Addams Family film, Cousin It for Amazon/MGM and are in pre-production on Just Wynn, a feature comedy starring Chris Tucker with Good Fear and STX producing. Brandon wrote and directed the short film, Run which was in several festivals. Switches: A Future Love Story, is Brandon’s debut as a solo feature writer and director. Brandon resides in Los Angeles, California with his wife, Mikah and their son, Maverick.

Project Page

 

GOOD EVENING, MARSHALL (GOOD EVENING, GERALDINE)

Project type:  Fiction Short
Project status:  Pre-Production
Writer/Producer:  Jessica Mosher
Director: Laura Seay

About the Project: Geraldine and Marshall need everything to be perfect and they work very, very hard to keep it that way, thank you very much. But when one of them questions the rigid rules of their game, their literal reset button stops working and they are forced to confront reality or risk losing each other forever.

Meet the Filmmakers: Jessica Mosher — Writer/Producer
Jessica Mosher is a Canadian actor and award-winning screenwriter based in New York City. Winner of the Austin Film Festival Screenplay Competition, she has also been recognized by the HollyShorts Screenplay Contest, Cinequest Screenwriting Competition, Big Apple Film Festival Screenplay Competition, and Outstanding Screenplays, among others. Her fiction has been published in the Jet Fuel Review and she has also been recognized as a fiction finalist at the Tucson Festival of Books Literary Awards and awarded a core residency in screenwriting at Millay Arts. She loves stories about women behaving badly and unexpected narrative structure. (www.jessicamosher.com)

Laura Seay — Director
Laura Seay is an award-winning director, writer, and actor whose films have
screened at Oscar-qualifying and top-tier festivals worldwide, earning numerous accolades across the circuit and critical acclaim from publications including MovieMaker Magazine and Film Threat. A Ryan Murphy Half Initiative fellow, she has shadowed directors on FBI and Doctor Odyssey, and is a Sundance Collab selectee. Her work blends emotional precision with bold visual storytelling across genres. As an actor, she has performed for top directors including Steven Soderbergh (Command Z), with credits in Superbad, NCIS, and Marvel’s Agents of S.H.I.E.L.D. She is a member of the Alliance of Women Directors.

Project Page

COPARENTING STOREY

Project type:  Fiction Short
Project status:  Development

Writer/Director: Brandyn Johnson
Producers: Tyrin Bell-Sinkfield, Khari Johnson, Masora Fukuda

About the Project: Simone is trying to co-parent with her ex. Art is trying to prove he’s not still in love with her. Their families are wild, their boundaries are unclear, and their newborn is already judging them.

Meet the Filmmaker: Brandyn Johnson — Writer/Director
Brandyn Johnson is a father, filmmaker, and educator from Brooklyn, NY. California is where he currently calls home. During his time at USC, he developed a proficiency in screenwriting, creative producing, directing and film sound through mentorship from award-winning professionals like Brenda Goodman, David Balkan, Barnet Kellman, and Midge Costin. In a nutshell, his narrative work largely focuses on the new vs the old—the things we learn and take from the past that inform the futures we build for ourselves. Continuing to strengthen his understanding of the film language, he’s committed to telling thoughtful and honest stories that reflect the people and diverse communities that have shaped him. Johnson is a 2025 Film Independent Project Involve Fellow and currently serves as the Program Manager for Ghetto Film School LA. The young people in his life, including his 8 year-old son Grey, are his harshest yet most loving critics.

Project Page

 

Learn more about Fiscal Sponsorship, including its benefits and eligibility requirements by visiting our website. See which projects are currently being supported via our Sponsored Projects page.

Film Independent Artist Development promotes unique independent voices by helping filmmakers create and advance new work. To support our work with a donation, please click here. Become a Member of Film Independent here.

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On the eve of All Hallow’s Eve, we’re looking back at a couple of our favorite horror-themed posts. Enjoy this one from 2023.

***

Among other consumer benefits, one major upside to the increasing niche-ification of popular culture has been the continuing emergence of esoteric micro-genres of film and TV. Twenty years ago, you might not necessarily think of “horror documentaries” as its own subgenre. Sure, there were documentaries that maybe fell a little more on the creepy/unsettling side, but it was rare that a nonfiction film would be tailored to appeal to a horror-first genre audience. Now, of course, things are different. In recent years, a robust tradition of terrifying nonfiction films have emerged, many as terrifying – or even more eerie – than their traditional narrative counterparts.

There are, of course, a variety of ethical questions surrounding the issue of placing true events within the structure and conventions of a genre film. And guess what? We’re not going to solve any of those issues today. But if you’re looking for something a little bit different this Halloween weekend outside the standard fright-flick canon (I mean, we all love Hocus Pocus, but c’mon!), check out these six astounding tales of true-life horror:

 

A GLITCH IN THE MATRIX (2021)

Director: Rodney Ascher

Producer: Ross M. Dinerstein

Where to Watch: Hulu

Why it’s scary: In his three documentary features to date, Rodney Ascher has demonstrated a keen interest in the way human beings process and interpret sensory input, from the byzantine fan theories about The Shining in Room 237 (2012) to the bespoke permutations of sufferers’ sleep paralysis experience in The Nightmare (2015). Ascher’s fascination with our varying interpretations of reality (and its accompanying intersections with pop culture) continues with  Glitch in the Matrix, which premiered at Sundance 2021 and is now available on Hulu. Using the content of a 1977 sci-fi convention keynote speech by late author Philip K. Dick as its jumping-off point, Matrix is an exploration (and meditation) on the emerging concept of “Simulation Theory,” which posits that present-day reality as we are experiencing it now is, in fact, a highly-detailed artificial simulation being that is maintained and operated by outside forces. An essayistic look at issues from technology dependence to media consumption, semiotics, philosophy and video game mechanics, A Glitch in the Matrix certainly gives the viewer plenty to ponder.

 

KILLER LEGENDS (2014)

Director: Joshua Zeman

Producer: Rachel Mills

Where to Watch: Peacock, Tubi, Freevee

Why it’s scary: While some of the filmmakers on this list might bristle at the idea of their work being labeled “horror,” the tag is more than apt for Killer Legends. Produced for cable channel Chiller, director Joshua Zeman (Cropsey) uses effectively moody cinematography, portentous narration and ominous music to delve deep into the IRL origins of four unforgettable urban legends: The Hookman, The Candyman, The Babysitter and The Man Upstairs and The Killer Clown, examining the facts of each case and speculating as to why they seem to have captured the public’s imagination. You’ve probably heard of some of these before, and the others, you probably haven’t. Either way, each vignette unspools like a spooky campfire ghost story, aided by just the right amount of cheese and interesting factoids to prove that truth is definitelystranger than fiction.

 

THE BLACKOUT EXPERIMENTS (2016)

Director: Rich Fox

Producer: Kris Curry

Where to Watch: Tubi, Pluto TV, Vudu

Why it’s scary: When writing about horror movies (and horror documentaries), the question that keeps resurfacing is: Why do people enjoy being scared? The brutally intense 2016 documentary The Blackout Experiments takes this inquiry to the extreme with a look inside the world of “Blackout”— a mysterious, sort-of performance art troupe that creates custom-designed terror scenarios perfectly calibrated to exploit their victim/customers’ deepest fears. And unlike Knott’s Scary Farm, Blackout’s “performers” don’t shy away from physical contact. Scenarios involve everything up to and including (consensual?) sexual humiliation, physical violence, psychological torture and more. But the truly bizarre part is how oddly cathartic Blackout’s patrons find the experience to be, readily paying top dollar to endure the sorts of experiences most everyone else would seek to avoid at all costs.

 

GOING CLEAR (2015)

Director: Alex Gibney

Producer: Alex Gibney, Lawrence Wright, Kristen Vaurio

Where to Watch: Max

Why it’s scary: Subtitled “Scientology and the Prison of Belief,” this account of the story of L. Ron Hubbard, David Miscavige and The Church of Scientology may not be “scary” in the standard Halloween sense of the word, but the tales collected here from multiple apostates about the abuses suffered at the hands of church leadership are undeniably disturbing. Based on Lawrence Wright’s bestselling 2013 exposé (itself an expansion of a 2011 New Yorker piece), Gibney’s film — produced for HBO — traces the origins of the church and its charismatic founder, 1950s sci-fi author L. Ron Hubbard, through its early struggles, reinvention and consolidation under the stewardship of David Miscavige, Scientology’s controversial post-Hubbard figurehead. Among the topics explored is the organization’s relentless courting of celebrities and the torment — both mental and physical — endured by the church’s lower ranks.

 

BEWARE THE SLENDERMAN (2016)

Director: Irene Taylor Brodsky

Producer: Sophie Harris, Irene Taylor Brodsky

Where to Watch: Max

Why it’s scary: The internet can be a scary place for a lot of reasons — many of them completely unrelated to Slenderman: the ghastly white, suit-wearing, 10-foot-tall child-murdering tentacle monster of the Creepypasta lore. But Slenderman (as interpreted through countless memes, fan art, video shorts, and message boards) is undoubtedly one of the most singularly terrifying creations of the digital age. Particularly chilling is the character’s grip on the imaginations of young people, which turned deadly in 2014 when two 12-year-old Wisconsin girls nearly stabbed their friend to death in a misguided effort to appease their paranormal overlord. But Brodsky’s film — made for HBO — is anything but sensationalistic, delving deep into the facts of the case to offer a sobering look at the effects of fantasy imagery on impressionable (and possibly already disturbed) minds.

 

WHO TOOK JOHNNY (2014)

Director: David Beilinson, Michael Galinsk, Suki Hawley

Producer: David Beilinson

Where to Watch: Kanopy

Why it’s scary: You may have noticed, but there’s huge amount of bleed (icky! pun not intended) between horror docs and the genre’s slightly more reputable, upscale brother: true crime. At first, Who Took Johnny seems much more in line with The Keepers and Making a Murderers of the world, chronicling the decades-long investigation into the disappearance of Johnny Gosch, a 12-year-old paperboy from West Des Moines, IA who disappeared from his route one day in 1982, seemingly never to be heard of again. But what begins as a standard missing-persons case soon gives way to an insane paranoid thriller centered on a wide-ranging conspiracy involving an institutionalized occult pedophile ring. Things only get weirder when Johnny suddenly reappears — only to disappear as suddenly and mysteriously as he did in 1982. Utterly chilling stuff, and perhaps not recommended for sensitive stomachs.

 

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‘Disc Jockeys’ is a column featuring video stores across the country that provide their communities with access to DVDs, Blu-Rays and VHS (that can – and often can’t – be found anywhere else), in which we explore what it takes to survive as a physical media store in the age of streaming.

***

Lawyer by day, Board Chair of a video non-profit by night, Macy Cotton is just one of the many volunteer caped-crusaders keeping Austin’s We Luv Video open 50 hours a week and providing Texan cinephiles with their physical media fix.

We Luv Video started as a way to keep video stores alive in Austin, when two of the main independent chains closed in 2019 and 2020. One of those chains, I Luv Video had 10 stores at its peak, and a massive collection of VHS, DVDs and Blu Rays that were looking for a home after the store’s closure. The owner of I Luv Video, Conrad Bejarano, wanted to make sure the collection stayed together and was available to the public.

Enter Macy and her 100% volunteer squad. They took the I Luv Video collection and opened We Luv Video, and on top of renting out tapes and disks, they run screenings, charity events, book clubs and feature local artists whenever they can.

We recently spoke with Macy about what it takes to keep a Texas video store afloat.

You took over the collection of I Luv Video which was a for-profit that went out of business in 2020. Tell me a little bit about how the collection was moved over to the nonprofit and how the nonprofit was started.

I didn’t know the owner, Conrad Bejarano. I had read a few pieces about what Conrad was going to do with a collection, because of course that was like the first thing that everyone asked him. ‘You have thousands and thousands of these things. What are you going to do with them?’

Conrad said he was open to a lot of offers but his main thing was that he didn’t want to split up the collection and he didn’t want it to go to private individuals. He felt this needed to be enjoyed by the public.

I started looking up other video stores that were still in existence. You’ve talked already with Beyond Video. Beyond were the first people that we reached out to because they started with no collection. And I was like, oh, this is a proof of concept that I can take to Conrad and say, ‘There’s a demand and I think a nonprofit model is the way to go here’. So we cold emailed Conrad and he was open to it and met with us.

The collection had been through a lot. It had been in sea crates for a while, it had been in an insulated milk truck. There was almost three years before it moved into our store. It’s hot in Texas, so we had to quality check the films. We were just happy that Conrad took a chance on us, honestly.

There were two big video store chains in Austin. There was I Luv Video and then there was Vulcan Video, which also which shut down in 2019, and just by coincidence, the Vulcan location was available for rent. So, it’s just a nice homage that we’re now in the old Vulcan location.

Tell me a little about your background. What were you doing before this and with it being a nonprofit, is there anything else you’re doing on the side?

Unfortunately, nobody gets paid at We Luv Video. This is a hobby for fun. I’m a lawyer and I work for the state at my regular job.  We are able to make a profit and be able to acquire movies and do fun stuff, but we don’t make enough to be able to sustain even one person’s lifestyle right now. So that’s where we’re at.

Pure passion. That’s still great though. It shows how much it means to everybody.

I think it’s a huge selling point. Our volunteer list is long. Every time we put out a call for clerks or for people helping with our events, we always get people, and I think a big part of that is that we are all here because we truly want to be, and that is really special.

Community is such a huge part of your store. You have local artists creating the front display and designing your t-shirts You have events like flood benefits. Tell me a little bit about your efforts to foster that community.

Honestly, it’s the luck of the people that have selected to come in and join us. Everyone understands that we have to split up responsibilities to make a business that’s open 50-hours-a-week work.

With the flood benefit thing, that was one of our volunteers who messaged and said, ‘Hey, we see a lot of other businesses in the area doing this, I think we should do it. Let’s do a raffle. I’ll coordinate.’ One of our board members said ‘I want to run a t-shirt contest’ So if you can dream it, and it’s cheap, then we’ll try to make it happen.

You also have a micro cinema. What do you look to program when you’re putting on screenings there?

I don’t personally program. We have a whole events team that does, but I believe that they would say that community is the focus there as well.

We have a lot of regular monthly screenings. We have Ani-Mondays animation series. We have Sun-Gays, which is a Sunday night every month that shows obscure queer film. We have a book club that is just for members, and they read the book and then compare it with the film adaptation.

When the opportunities come up to play local filmmakers, we try to screen their work as well. We try and encourage folks that if you make it, we want to try and play it. We try and keep it fun.

How many titles do you have and what type of titles do you look for like when you’re looking to expand?

We are still sorting through the I Luv Video collection. That has been a gargantuan task. They were running off of DOS. For real. So with the inventory list, it was like starting completely from scratch.

We have recently inherited some of the Alamo’s Video Vortex collection. They had some runoff and reached out to us. Then we do we get a lot of community donations. More than once, we’ve gotten entire garbage bags just left on our front door at night.

We have a lot of members that will notice we didn’t have something and then they’ll buy it for themselves and then donate to us after, which I think is just always very sweet. So we have so a lot coming in from a lot of different angles, which honestly covers a lot.

When we are looking for acquisitions, we try and go international and local if we can. And honestly, it is kind of surprising, but New Releases do really well still, so we try and get the New Releases when we can.

Yeah, that totally makes sense. I when I go to my video store, too, there is just something instinctive to go to the New Releases section. Even just like having it and renting it, it makes sure that I’m going to watch this and not miss it. I totally get that because I do it myself.

Yeah, I do too. And we try it we keep a New-To-Us section as well, so if it’s donated by somebody, then it’ll go in the New-To-Us shelf.

Why are video stores still important?

What’s really important is people being able to own what they own. I think that there has been a big movement of people realizing like ‘whoa I’m paying just to have access to this stuff momentarily. That doesn’t stop corporations from editing it. That doesn’t stop it from being pulled. There’s no guarantee that you could ever access that again, right?

We hear it with movies. We hear it with TV. I don’t want these streaming services to be the arbiter of what should be censored and what should not be censored, what should be edited for looks– aspect ratios anything like that. With something like Killers of the Flower Moon, there’s no guarantee you’ll be able to watch that again on a physical release.

And then, this is just a personal thing, I love DVD for special features. I love watching directors’ commentary, I love bloopers. Stuff like that that goes nowhere now. The Superbad DVD menu that is legit Michael Cera dancing for one hour. He did that for real, and it loops and that was just a joke that they wanted to do. That was something really really cool that they’re not really doing anymore. Just an appreciation for the craft, I guess.

This interview has been lightly edited for clarity and brevity.

 

You can check out more of what We Luv Video are up to on their events page. 

For over 40 years, Film Independent has helped filmmakers get their projects made and seen. The nonprofit organization’s core mission is to champion creative independence in visual storytelling and support a community of artists who embody diversity, innovation and uniqueness of vision.

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Now streaming on Apple TV, the world is treated to another Spike Lee joint, Highest 2 Lowest. It marks his twenty-fourth narrative feature film; an undoubtedly impressive number, but what’s even more impressive is the film itself. For a fiercely independent auteur who’s been in the game for as long as he has, it’s inspiring to see his creative vigor and steady hand on the pulse of American culture. The longevity of his career since his breakout independent debut She’s Gotta Have It (1986) is truly what dreams are made of for contemporary filmmakers. In honor of the prolific filmmaker’s latest film, the following is a loose retrospective on some of his most acclaimed and underrated titles; not only in regard to storytelling, but the human experience.

Lee was making short films before he even reached adulthood. After attending Morehouse College as an undergraduate, he would continue his studies at New York University. It was here that he showed his first sign of promise as a serious director in his student thesis film Joe’s Bed-Stuy Barbershop: We Cut Heads (1983), which went on to win best drama at The Student Academy Awards that year. His next sign of promise would come into fruition just a few years later with She’s Gotta Have It (1986), a romantic comedy made just shy of two weeks for $175,000. It earned fortyfold its budget, making it one of the most profitable independent films ever.

Lee’s ability to move between low-budget films, such as the aforementioned title or Do The Right Thing (1989), and big-budget films, like Malcolm X (1992) or Inside Man (2006), points to his filmmaking versatility. The payoff being critical and commercial success, notably his forever summer staple—arguably his magnum opus—Do The Right Thing(1989). Moreover, this versatility extends to his storytelling capabilities.

Lee is no stranger to the documentary space. With 4 Little Girls (1997), a re-examination of 1963’s 16th Street Baptist Church Bombing, and A Huey P. Newton Story (2001), he established a serious interest in the genre. His empathetic eye, documenting sensibilities, and distinctive style would culminate in the award-winning When the Levees Broke: A Requiem in Four Acts (2006), a four-part series exploring 2005’s catastrophic Hurricane Katrina, cementing his place in the documentary landscape.

Furthermore, with a handful of iconic features poking through his fingers, it might come as a surprise to some—or friendly reminder—that Lee has filmed/directed theatrical productions as well. From musicals, Passing Strange (2009), to plays, Pass Over (2018), it’s apparent that Spike Lee doesn’t feel constrained with visual storytelling.

Stylistically speaking, his narrative films can be described as works of pastiche, pointing to his frequent reinterpretations of existing material—notably of Harry Powell’s “love and hate” scene from Charles Laughton’s The Night of the Hunter (1955) in Radio Raheem’s “love and hate” scene from Do The Right Thing (1989). Additionally, it’s the medley of materials that he pulls from not only other films, but music, paintings, sports, and real-life events.

Through carefully choosing and arranging these various pieces of media, he’s one who goes above and beyond. Above by mastering the style, beyond by interweaving original stories and characters. Lee’s approach of the pastiche, fearless risk-taking, and singular voice is on full display in Highest 2 Lowest. David King’s (Denzel Washington) home is filled with iconic artwork from Black American painters, along with traditional jazz, soul, and contemporary rap music as the soundtrack. Here is where his hand on the pulse of American culture is evident, with contemporary rappers like A$AP Rocky, Princess Nokia, and Ice Spice having supporting or minor roles in the film. Additionally, the first half of the film takes its time, offering a sophisticated direction not commonly seen in Lee’s films. Then, out of nowhere it switches to the best of Spike Lee that we’ve come to know and love. That is where his risk-taking is the most palpable.

Through this process emerges Lee’s singular voice, a voice that speaks of social politics, Black Power, and New York pride. The way we feel about Spike Lee’s work is like how some of the fictional characters say: we understand, we overstand.

 

Spooky season is thickly up on us, and this month’s batch of indie film releases highlights a range of spine-tingling titles – from psychological to supernatural to dystopian, with some family drama for good measure. Dig in, you just never know what independent minds will make up next.

 

LURKER

When You Can Watch: October 10

Where You Can Watch: MUBI / Film Independent Presents

Writer/Director: Alex Russell

Cast: Théodore Pellerin, Archie Madekwe, Sunny Suljic

Why We’re Excited: Alex Russell (a writer on The Bear) set his psychological thriller in the world of Instagram fame and up-and-coming music talent. Playing on social dynamics and paranoia, Lurker spotlights Matthew (Théodore Pellerin, Spirit Award nominee Never Rarely Sometimes Always), a too-intense loner working retail in Los Angeles. Meeting indie musician Oliver (Archie Madekwe, Gran Turismo) puts Matthew in a position of social climber, elbowing his way into the entourage of a rising star who is just as eager to secure his own popularity with the public. As each of them pursue their sometimes intertwined aims, the tension builds between art, commerce, friendship and who will get what they want – and at whose expense.

 

 

MY FATHER’S SHADOW

Where You Can Watch: Our Programmers’ Picks screening at the Film Independent Theater

Director: Akinola Davies Jr.

Cast: Sope Dirisu, Godwin Egbo, Chibuike Marvelous Egbo

Why We’re Excited: In Nigeria’s first Official Selection at Cannes, this semi-autobiographical coming of age drama is seen through the eyes of two boys (actual brothers Godwin and Chibuike Marvelous Egbo) who spend a day with their estranged father in 1993 – the time of Nigeria’s historic presidential election. From the relative calm of their rural village to the vibrancy and bewilderment of Lagos, brothers Aki and Remi get their first glimpse at the romanticized life of their father Fola (Sope Dirisu, Gangs of London). Co-written by Akinola Davies and his brother Wale, Davies told The Observer, “…it was also about us trying to understand and mine a bunch of emotions on what it means to be men in an African context, and grieve a relationship that we never really had.”

 

 

ORWELL: 2 + 2 = 5

When You Can Watch: October 3

Where You Can Watch: Theaters

Director: Raoul Peck

Cast: Damian Lewis

Why We’re Excited: In a spare composition, Spirit Award nominee Raoul Peck (I Am Not Your Negro) examines the life, work, and relevance of George Orwell’s writing – specifically his dystopian novel, 1984. Knitted together with gravitas from narration by Emmy winner Damian Lewis (Homeland), the documentary connects archival footage, diary excerpts, and global contemporary events to follow Orwell’s path from imperial officer to prophetic critic of authoritarianism, sprinkling details of his personal life among his writings. Peck, commissioned by the Orwell estate, spoke with Filmmaker Magazine on finding his connection with Orwell: “What people have made of Orwell over the years was to put him in this little tunnel of anti-Sovietism, anti-Stalinism…Any power is subject to becoming authoritarian.”

 

 

ANEMONE

When You Can Watch: October 3

Where You Can Watch: Theaters

Director: Ronan Day-Lewis

Cast: Daniel Day-Lewis, Sean Bean, Samuel Bottomley

Why We’re Excited: Co-written with his dad, Academy Award winner Daniel Day-Lewis (Lincoln), this art-house family drama is a feature debut for Ronan Day-Lewis. Day-Lewis’s distinctive visual style shines in the film’s Northern England setting of misty forests, as Jem (Sean Bean, Game of Thrones) braves estrangement and traumatic history to visit his hermit brother Ray (Daniel Day-Lewis) and encourage him to return to civilization. The film title (pronounced Uh-NEM-uh-nee) refers to a key story that unfolds as Jem and Ray catch up on life – as only two men with lots of secrets and buried emotions would – because even though some things are impossible to talk about, the bond of family demands that we do. Produced by Film Independent members Dede Gardner and Jeremy Kleiner.

 

 

GOOD BOY

When You Can Watch: October 3

Where You Can Watch: Theaters

Director: Ben Leonberg

Cast: Indy, Shane Jensen, Arielle Friedman

Why We’re Excited: Finally! A ghost story from the dog’s perspective. Titular good boy Indy takes the cake as the dog, who in real life belongs to director Ben Leonberg. Leonberg and his wife (producer Kari Fischer) worked for three years to prep Indy for the role in their first feature. “I worked with my own dog,” he told Variety, “and I think by necessity, the movie’s gonna be unique because his performance is so unlike other performances a person or even another dog actor would give.” The story of a loyal dog who moves into a remote cabin with his owner was first imagined for a short film contest, in which Indy won Best Actor. And the unique genius of Indy’s quirks and dog sense shine as he bravely battles the dark forces threatening his best friend – a man named Todd (Shane Jensen, Four).

 

 

IF I HAD LEGS I’D KICK YOU

When You Can Watch: October 10

Where You Can Watch: Theaters

Director: Mary Bronstein

Cast: Rose Byrne, Conan O’Brien, A$AP Rocky

Why We’re Excited: Linda has a lot going on. As a therapist (Rose Byrne, Spy) with a mysteriously ill daughter and absent husband, Linda spirals from frazzled to unraveled and descending. Sharing her struggles with a dismissive therapist (the surprisingly perfect Conan O’Brien, The Lego Batman Movie) and her relentlessly positive hotel neighbor, James (A$AP Rocky, Dope). The rising panic is palpable, and the hole in Linda’s ceiling seems to parallel other things in her life that come crashing down. This is the second film from director Mary Bronstein (Yeast), bringing dark humor to visceral emotion as mounting pressures in Linda’s life – from within and without – take her on a messy search for meaning and identity.

 

 

FAIRYLAND

When You Can Watch: October 5

Where You Can Watch: Landmark Sunset, Film Independent Presents

Director: Andrew Durham

Cast: Emilia Jones, Scoot McNairy, Nessa Dougherty

Why We’re Excited: Andrew Durham adapted the script for his first feature from Alysia Abbott’s memoir with the same name. In an interview with Solstice, Alysia talked about the ten-year journey from page to screen, watching Durham dramatize her childhood memories of life in San Francisco with her gay dad – played by Scoot McNairy (Spirit Award winner In Search of a Midnight Kiss). “I felt he really respected me as the author of this story,” Abbott said. “And in turn I trusted him to make the movie he wanted to make.” Durham’s movie starts with the catalyst for the big move to San Francisco – the death of young Alysia’s mother in a car accident. Ignoring advice from relatives, the family of two sets off for new experiences in a defining era for the gay community. Film Independent member Elizabeth Woodward served as Executive Producer.

 

 

THE MASTERMIND 

When You Can Watch: October 17

Where You Can Watch: Theaters

Director: Kelly Reichardt

Cast: Josh O’Connor, Sterling Thompson, Ronnie Gibson

Why We’re Excited: Spirit Award winner Kelly Reichart (Showing Up) has always loved heists. When she happened on an article reporting the 50th anniversary of an art heist in Massachusetts, it sparked the idea for her own modest art heist set in New England. Rather than pilfering Rembrandts, Reichardt’s James Mooney (Josh O’Connor, God’s Own Country) channels his detachment from the state of the world in the 1970s into a scheme to make off with a few small works by Arthur Dove. But as Reichardt’s films tend to do, Mastermind challenges Mooney’s assumptions of independence as he is forced to reckon with society, his judge father (Bill Camp, Sound of Freedom) and his ragtag crew.

 

 

 

BUGONIA

When You Can Watch: October 31

Where You Can Watch: Theaters

Director: Yorgos Lanthimos

Cast: Emma Stone, Jesse Plemons, Aidan Delbis

Why We’re Excited: Yorgos Lanthimos (Spirit Award nominated The Favourite) was drawn to this script because of the timeliness and relevance of its concept – two conspiracy theorists kidnapping the protective CEO of a big pharmaceutical company. “I felt it was so funny and entertaining but also extremely impactful and made you really think about things deeply,” Lanthimos told THR. Spirit Award nominee Jesse Plemons (Other People) plays the beekeeper who believes Michelle – Emma Stone (Spirit Award nominated Fantasmas) – is actually an alien planning to destroy the earth. So naturally he gets his cousin to help stash Michelle in the basement until they can coerce her to reverse her plans for total annihilation. The battle of wits that ensues is both entertaining, chilling and potentially insightful.

 

 

 

PROGRAMMER’S PICK: HEDDA

When You Can Watch: September 25

Where You Can Watch: The London West Hollywood, Film Independent Presents

Writer/Director: Nia DaCosta

Cast: Tessa Thompson, Nina Hoss, Imogen Poots

Why We’re Excited: From Senior Programmer Jenn Wilson–Hedda Gabler is one of the most complex characters ever written for the theater, and director Nia DaCosta delivers a powerhouse adaptation of Henrik Ibsen’s play, one that will most likely leave you breathless.  Tessa Thompson stars as the title character, Hedda. Brooding and bored with her lot in life, she decides to throw a grand party for her husband who is seemingly soon to be named to a coveted new job at the university, but when Hedda’s ex-lover, Eileen Lovborg shows up at the party with a new girlfriend and also vying for her husband’s position, Hedda shifts into a revenge mode for the ages.  Whose side is she on, though?  In one moment she seems to be helping someone that she later turns on, begging the question of whether she actually knows what she wants or not.  Helping Tessa Thompson buoy this chaos is an amazingly powerful performance from Hedda’s rival Lovborg played by German actress, Nina Hoss.  Throughout, the film’s production and sound design and restless cinematography style, are all beautiful to behold and create a stunning visual framework for this wild story of a woman on the edge, fighting for freedom in the only way she knows how.

 

 

KEY

Film Independent Fellow or Member

Film Independent Presents Screening, Q&A

Microbudget

Filmmaker or Lead Characters of Color

Film Independent Spirit Award Winner or Nominee

Female Filmmaker

LGBT Filmmaker or Lead LGBT Characters

First-time Filmmaker

LA Film Festival Winner or Nominee

 

 

For over 40 years, Film Independent has helped filmmakers get their projects made and seen. The nonprofit organization’s core mission is to champion creative independence in visual storytelling in all its forms, and to foster a culture of inclusion. We support a global community of artists and audiences who embody diversity, innovation, curiosity and uniqueness of vision. To support our mission with a donation, click here.

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To have a 25-year career in the world of indie producing is no easy feat. You have to have resourcefulness, an eye for talent, and a dedication to see projects from a nascent spark of an idea to a fully-formed box office hit. The same could be said of the Film Independent Producing Labs which have their own impressive track record, and are celebrating their 25^th year with two new cohorts ready to become Hollywood’s next heavy hitters. This year we’ve selected seven producers for the 2025 Fiction Producing Lab, and six producers completed the second annual Documentary Producing Lab.

At a critical time in the indie film world, the Labs’ aim to both workshop their projects and give Fellows the tools for a sustainable career. “As producing independent films becomes more of an uphill climb in today’s marketplace, we are proud to be able to provide a space for the Fellows to develop their projects and their careers as creative producers,” said Dea Vazquez, Associate Director of Fiction Programs.

“With the support of seasoned advisors, they’re developing projects that speak loudly and with clarity and purpose—reminding us of the vital role documentaries play in how we understand our world,” added Daniel Cardone, Senior Manager of Nonfiction Programs.

 

FICTION PRODUCING LAB

This year’s Fiction Producing Lab, celebrating its 25th anniversary, runs October 6–17, 2025. In the program, each Fellow will pair with a Creative Advisor, workshop with experienced producers, and gain real-world business and editorial guidance designed to help their projects across the finish line.

We brought in some heavy hitters to share their expertise with the Fellows too. This year’s Advisors and Guest Speakers includeTyler Boehm, Jon Coplon, Fanshen Cox, Sheila Hanahan Taylor, Daniel Tantalean, Chris Kaye, Ben LeClair, Amanda Marshall, Alexandria Martin, Lauren Mann, Khaliah Neal, Ryan Paine, Anne-Elisa Schaffer, Lauren Shelton, Annalisa Shoemaker, Lena Vurma, Monique Walton and Zoë Worth.

The Sloan Producers Grant is also being awarded to David Rafailedes for their project Satoshi. The $30,000 grant is awarded to a project whose screenplay integrates science or technology themes and characters into dramatic stories.

Let’s take a look at this year’s fellows & their projects:

Gabrielle Cordero

Bio: Gabrielle Cordero is a Mexican-American producer from the Bay Area and an AFI Producing graduate (2019). Her short films Big Touch and Elle premiered at the 2020 Rhode Island International Film Festival, where Elle won the Marlyn Mason Award. She has been selected for HBO/HFPA’s Tomorrow’s Filmmakers Today (2019, 2020), NALIP’s Latino Lens Incubator (2021), and is a PGA Diversity Workshop alum. She co-created Gringas with Christina Kingsleigh Licud and sold a show to Hulu’s Onyx Collective. Gabrielle recently produced her feature debut, Forge, premiering at SXSW 2025, and is in production on her next feature, Progeny.

Project: Altrove

Logline: After the family breaks apart, an Italian immigrant, an Afro-Latina American woman, and their 7-year-old son struggle to find a sense of home. A revealing exploration of each of their lives uncovers the depths of their regrets, fears, and sorrows, as well as their journey towards acceptance.

Adam Kopp

Bio: Adam Kopp is a film and television producer and executive currently developing a slate of independent projects, including Fuckboy, a new feature from Ben Mullinkosson and Michael Barth, which recently wrapped production in Chengdu, China. Before producing independently, Kopp led Universal Remote, the production company behind Netflix’s Emmy-winning Beef. His additional producing credits include Evan Twohy’s debut Bubble & Squeak (Sundance 2025) and Kelly Oxford’s debut Pink Skies Ahead (SXSW 2020). Kopp is a graduate of NYU’s Gallatin School and is originally from St. Louis, Missouri.

Project: Challenger: An American Dream

Logline: A seventeen-year-old student, who is in love with her favorite teacher, Mrs. McAuliffe, strums the right chord on her Stratocaster and enters a wormhole that takes her back in time to the night of the Challenger explosion, beginning her fantastical journey to save her teacher and prevent the disaster.

David Rafailedes

Bio: David Rafailedes is a Detroit-based writer, director, and producer. He is a 2024 Sundance Screenwriters/Directors Lab Fellow and the co-recipient of the NYU/Sloan Feature Film Prize with Satoshi. Rafailedes is the co-playwright of the hit off-Broadway play, Cellino v. Barnes, which was awarded Time Out New York’s Best Comedy of 2024. His debut short film, Never Been Kissed, premiered at the Cleveland International Film Festival and won the audience award at the SOHO International Film Festival. Rafailedes is a recent alumnus of the NYU Graduate Film Dual Degree program, receiving an MFA and MBA in producing.

Project: Satoshi

Logline: After her family loses everything in the 2008 financial crisis, a teenage anime-obsessed hacktivist realizes money isn’t fair, so she sets out to reinvent it with a new currency called Bitcoin.

*2025 Film Independent Alfred P. Sloan Producers Grant Recipient

Ebony Elaine Hardin

Bio: Ebony Elaine Hardin is an LA-based producer with roots in casting for TV, film, and Broadway. She is passionate about blending humor with cultural resonance, and her independent work has screened at more than 40 festivals worldwide, including Fantastic Fest, BlackStar, Beyond Fest, and Fantaspoa. As Supervising Producer at Dropout TV, Hardin manages physical production, budgeting, and strategy for one of the most innovative independent comedy platforms today. She is a proud Film Independent Project Involve and Women In Film Producers Lab alum. Hardin holds a BFA in Drama from Carnegie Mellon University with a minor in Business Administration.

Project: Trashy People

Logline: Stripped of her future by a lost scholarship, a brilliant teen infiltrates the college system from the inside—working at the recycling center by day and crashing lectures by night—all in a desperate quest to revolutionize plastic recycling and prove she belongs.

Betty Hu

Bio: Betty Hu is a Chinese-born producer. With extensive experience in China, Hong Kong, and the U.S., Hu discovers daring stories about identities, family dynamics, and social changes in modern Asian communities. Hu’s producer credits include Finis Terrae, Special Mention FEDIC winner at 2020 Venice International Film Festival; Hieu, winner of the Deuxième Prix at Cannes Cinéfondation 2019; and Audition, Best Live-Action Short winner at Santa Barbara Film Festival. Hu was the associate producer of World of Tales (2019). Currently, she’s developing narrative feature Uncle Hiep’s Casino, selected by Film Independent Fast Track and recipient of the Rainin Grant.

Project: Uncle Hiep’s Casino

Logline: Somewhere between his mother’s house and his uncle’s illegal casino, an ex-prisoner finds a new life.

Rui Xu

Bio: Rui Xu is a Chinese-born, LA-based, award-winning producer committed to supporting daring voices and innovative forms through the facilitation of independent filmmaking. Recent work includes Hieu, a Deuxième Prix winner of the Cinéfondation at the 72nd Cannes Film Festival, and Finis Terrae, which received the Special Mention FEDIC for Best Short Film at the 77th Venice International Film Festival. Xu is currently developing features, Caretaker and Uncle Hiep’s Casino with her CalArts fellows. Xu serves as the co-executive director at Chinese in Entertainment, a nonprofit with a mission to support professionals with Chinese heritage in the entertainment industry.

Project: Uncle Hiep’s Casino

Logline: Somewhere between his mother’s house and his uncle’s illegal casino, an ex-prisoner finds a new life.

Ashim Ahuja

Bio: Ashim Ahuja, a 2018 Project Involve Fellow, is a producer whose focus is on films that combine indie heart and sensibility with mass market appeal. Ahuja has worked across film/tv in production, development and post-production, with companies like Disney, A24, Lionsgate, Apple, Hulu and Macro. Films include We’re All Gonna Die (SXSW 2024), directed by longtime RocketJump collaborators Freddie Wong & Matt Arnold. Handle With Care (Completed), written and directed by Matthew James Thompson & starring Justin Min, and Patel (Post Production), written and directed by Ravi Kapoor starring Utkarsh Ambudkar, Richa Moorjani, Kunal Nayyar, Danny Pudi and Kal Penn.

Project: With Your Permission

Logline: A dark comedy about three Iranian-American Muslim sisters navigating their relationship to intimacy when they discover their widowed mother is getting remarried, forcing them to re-examine everything they thought they knew about love, family and forgiveness.

 

DOCUMENTARY PRODUCING LAB

The Documentary Producing Lab, now in its second year, grew out of Artist Developments continued investment in the non-fiction world. It concluded on September 19^th and  took on doc producers with projects in production or post, and focused on both the editing and directing, as well as the business side with Fellows being paired with creative and business consultants, and learned about fundraising, sustaining careers and managing projects, and concluded with a networking day with industry professionals.

During the Lab, filmmakers worked with Lead Producing Advisors Ina Fichman, Diane Becker, Alysa Nahmias, Trevite Willis, Megan Gilbride and Danielle Varga. Guest speakers were Sarba Das, Amit Dey, Steven Berger, Orly Ravid and Annalisa Shoemaker.

Jacob Fertig

Bio: Jacob Fertig is a nonfiction producer and director, working across shorts, features, and interactive media. His films have played at festivals including SXSW, Hot Docs, AFI, NOFF, and Doc10, and been published by Scientific American and New York Magazine. He has been a featured speaker and panelist at SXSW and NYU, and selected pitcher at Big Sky Pitch, Edinburgh Pitch, Ji.hlava New Visions Forum, AFO Camp 4Science, and AIDC. His archival producing work spans museums to magazines, including permanent exhibits at Ellis Island and The Holocaust Center. His projects have received support from Ford Foundation, Field of Vision, Tribeca Institute, Doc Society, Jewish Story Partners, Amnesty International, Forensic Architecture, and Docs by the Sea. He is a former Doc Society Art & Impact Fellow, Full Frame Fellow, NYU Feature Development Studio Fellow, and a Senior Fellow at Humanity in Action. He holds a BFA in Film & Television from NYU Tisch School of the Arts, and an MPA in Public Policy from NYU Wagner Graduate School of Public Service. Jacob is Co-Founder of Denizen Studios in New York.

Project: Abstract

Logline: Two searches are underway in the deserts of the U.S.-Mexico borderlands— the most surveilled border region in the world. One seeks the dead, the other stalks the living. Each pursues the migrant body beyond recognition. What is lost – ethically, emotionally, and politically – when we fail to see beyond systems of control?

DaManuel Richardson

Bio: Born and raised in the American South, DaManuel’s rural upbringing fuels his passion for stories rooted in identity, nature, and intergenerational healing. He is a creative producer at Hello Benjamin Films, where he develops bold fiction and nonfiction work supported by major institutions including the Ford Foundation’s JustFilms, Sundance Documentary Fund, and Field of Vision. His latest project, Artificial Horizon, was presented at Ji.hlava New Visions Forum (2024) and Big Sky Pitch (2025), and projects he has produced have screened internationally at world-renowned festivals including IFFR, BlackStar, and Dokufest. He previously collaborated with the Oscar-winning team behind Everything Everywhere All at Once, programmed shorts for Sundance, and continues to consult for major documentary funds—all while tending a thriving garden in Los Angeles.

Project: Artificial Horizon

Logline: Artificial Horizon explores the social and natural histories of former plantation land in Alabama, an origin point for the filmmaker’s family, whose members live on either side of (and sometimes cross) the “color line.” The film examines how boundaries are inscribed and looks to plants as models for subverting systems of control.

Khaula Malik

Bio: Khaula Haider Malik is an Emmy-Award winning filmmaker based in New York City. She most recently co-produced Apple TV+’s Girls State. She is currently in post-production on her first feature doc which has been supported by DOCNYC and the Catapult Rough Cut Retreat. Khaula’s work has been supported by The Sundance Institute, CAAM, Doris Duke Foundation, and others. Her work has been featured in The New York Times, Sight & Sound, PBS. She is a graduate of the MFA program at the Feirstein Graduate School of Cinema, and served as a programmer for the True/False Film Festival from 2022-2024.

Project: Dear You

Logline: After escaping an abusive marriage and fleeing to the US, Grace James finds herself trapped in the US asylum system for 10 years. In this poetic portrait of a woman in limbo, haunting memories begin to resurface of Grace’s past life and her disappearing homeland—the island nation of Kiribati.

Beth Levison

Bio: Beth Levison is an Emmy and Peabody-winning producer/director committed to artful storytelling and strengthening the documentary field. Her 2022 producing effort, The Martha Mitchell Effect (dirs. Anne Alvergue/Debra McClutchy, producing partner Judith Mizrachy), about Watergate whistleblower and Republican cabinet wife Martha Mitchell, premiered at the Sundance Film Festival, launched on Netflix, and was nominated for a 2023 Academy Award (Best Documentary Short category). Her previous film, Storm Lake, which she directed alongside DP Jerry Risius and also produced, broadcast on PBS’s Independent Lens in 2022 and was nominated for a Peabody and an Emmy. Other producing credits include the Independent Spirit Awards-winning A Photographic Memory (a Kino Lorber release, 2025), Women in Blue (Independent Lens, 2021) and 32 PILLS (HBO, 2017). Executive producer credits include Land with No Rider (True/False, 2025), the 2-time BIFA-winning Grand Theft Hamlet (MUBI, 2025), 3-time IDA Awards nominee, My Sweet Land (Sheffield, 2024) and With Peter Bradley (PBS, 2024). Levison is also the founder of Hazel Pictures; a consultant on numerous documentary films; a co-founder of the Documentary Producers Alliance; faculty at Sarah Lawrence College; and a member of the Academy.

Project: Postmortem

Logline: Postmortem, a cross-platform project, is a boundary-pushing, family crime drama about an abused girl who didn’t tell her childhood secret and the woman she becomes, who does.

Bryn Silverman

Bio: Bryn is a documentary filmmaker based in Louisville, KY. She is drawn to stories that explore self-determination and she loves a good archive. In 2024, she was named one of Filmmaker Magazine’s 25 New Faces of Independent Film. Her latest films include The People Could Fly (a POV and Chicken & Egg co-production) and Emmy nominated Beekeeper. Her directorial debut Expression of Illness was nominated for Best Emerging Director at the 2025 Melbourne Documentary Film Festival and won Special Jury Recognition for Best Documentary Short at the Middlebury New Filmmakers Festival. Her movies have screened at True/False, SXSW, DC/DOX, Hot Docs, DOC NYC, Big Sky, NOFF, Blackstar, among others. She is currently producing Pinball, an ITVS co-production that has been supported by the Sundance Film Institute, CAAM, the New Orleans Film Society, Just Films, the Southern Documentary Fund, Sheffield Meet Market, Hot Docs Deal Maker and others. She is also producing Vestibule, with which she won the 2024 Points North Pitch and the 2023 Ji.hlava New Visions Forum. She was a Southern Producers Lab Fellow and is a board member of the Documentary Producers Alliance. She also co-founded Hyphen Film Center in Louisville, KY.

Project: Pinball

Logline: A feature documentary that follows 19-year-old Yosef in suburban Louisville, Kentucky as he dives into the memories of his journey from Iraq to America and what it ultimately means for him to chase his dreams in the shadow of a war that displaced his family from their Iraqi homeland.

Hansen Lin

Bio: Hansen Lin is an independent filmmaker, producer and founder of TimeLight Films. Born and raised in China, he is now based in New York. His latest producing credit, 16Always (Dir. Deming Chen, 2025), won the DOX:AWARD at CPH:DOX, Best Picture at the JEONJU International Film Festival, and Best Editing at DocsBarcelona. He produces documentaries and fiction films that explore new cinematic language and form. His work includes numerous films and short documentary series centered on Asian and Asian American communities, amplifying underrepresented voices and stories. He is a member of the Documentary Producers Alliance (DPA) and the Asian American Documentary Network (A-Doc).

Project: Queens Ballroom

Logline: In a New York ballroom, Asian American immigrants are transported through dance, revisiting worlds they left behind and lives created anew.
 

The Fiction Producing Lab is supported by the Alfred P. Sloan Foundation, The Harnisch Foundation and the National Endowment for the Arts. The Documentary Producing Lab is also supported in part by the National Endowment for the Arts.

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The Film Independent Forum has always been a great resource for all types of filmmakers. As today’s filmmakers seem to move seamlessly between fiction, documentary, big screen and small screen, most or our sessions reflect that, by encompassing relevant issues across the board.  However, today we want to highlight three amazing panels bringing to the foreground the rich world of documentary filmmaking. 

Here’s a closer look at Here’s a closer look at some of the sessions of interest for the documentary filmmaker and fan in all of us.

New Wave: Filmmakers — Making Movies for Change

Friday 3:30pm (DGA 2)

Film has the ability to put the viewer into someone else’s reality. This is especially powerful in documentary, where it can bring light to social, environmental, and political issues and come from real people’s experience. The tricky part is achieving your goal of creating work that can bring about change, while sustaining the financial viability for you and the project. The New Wave: Filmmakers brings together three of the next generation of filmmakers who are doing both, with insights from Andrew Corkin (Producer, Rosemead, Pepsi Where’s My Jet?), Sam Mirpoorian (Director, Greener Pastures, Safe Place), and Shoshannah Stern (Director, Marlee Matlin: Not Alone Anymore). The discussion will be Moderated by Rosalina Jowers (VP of Strategic Communications, Inside Projects).

Presented in partnership with SAGindie, Easterseals Disability Services, and Plot Shift Media.

Drawing a Line in the Sand: Documentary Ethics and Self-Care

Saturday 10:00 am (DGA 2)

Non-fiction filmmaking is… different. There are the participants that don’t just show up at a specific call time like actors do, there’s the reality of dealing with fast evolving situations and portraying real people while they’re navigating complex life  events; and then, there’s the need to maintain a level head while working in physically and psychologically challenging conditions while making thoughtful ethical decisions under difficult circumstances. Filmmakers including Emma D. Miller (Director/Producer, What We Leave Behind, Mistress Dispeller) and Anayansi Prado (Director, Uvalde Mom), and moderator Steffie van Rhee (Producer, Earth to Michael) member of the Documentary Producers Alliance share insights into navigating ethical decisions and how  you can take care of yourself in the process (hint: it’s more than just taking a spa day).

Documentary Case Studies: Exploring the Form with Lauren Greenfield

Saturday 3:15 pm (DGA 2)

Documentary has grown massively in popularity during the streaming era. With a good hook, a film can find a huge audience and become the talk of the water cooler. But a whole new documentary style has been burning up the ‘Most Watched’ section of your favorite streamer: the docu-series. Shows like 100 Foot Wave, Cheer and Welcome to Wrexham are so successful, they get renewed year after year, and series like Social Studies and Hollywood Black rack up the Spirit Award wins and nominations.

Few filmmakers have navigated the evolving documentary landscape as prolifically as Lauren Greenfield, whose acclaimed work spans feature documentaries like Thin and The Queen of Versailles, to her Emmy-nominated series Social Studies.

Greenfield will share what works for both non-fiction series and features: how they’re different, what to look for in participants, how to scale up a production, and how distribution acts differently in each case.

Moderated by Ryan White (Director, Come See Me in the Good Light, Good Night Oppy)

A Community for Storytellers

The action at the Forum isn’t just up on stage. Events like Industry Connect allow you to meet one-on-one with agents, casting directors, distributors, film festivals, funding organizations, production companies, and other industry professionals to bring your career or project to the next level.

What makes the Forum special is that it brings together the Film Independent community in person, and let’s them make their own magic. Whether you’re a documentarian or not, the community that comes together for the Forum is there for you to connect with, share your own knowledge and forge new relationships.

Passes are available now, with discounted rates for Film Independent Members. For full program details, visit filmindependent.org/forum.

Film Independent promotes unique independent voices by helping filmmakers create and advance new work. To become a Member of Film Independent, just click here. To support us with a donation, click here.

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