Sean Baker’s Theatrical Crusade Marches On

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Currently, as filmmakers, we’re battling to preserve the essence of cinema by creating feature films meant for the big screen. Sean Baker emphasized this during his speech at Cannes last May when Anora won the Palme d’Or. He argued that watching a movie at home while multitasking on your phone or computer isn’t the ideal way, despite what some tech companies might suggest. Over the past few months, as Anora continues to receive numerous accolades, Baker has been consistently advocating for the importance of experiencing movies in movie theaters. He reinforced this at the New York Film Critics Circle dinner in January and again at the Directors Guild Awards on February 8, where he made sure to express his gratitude towards Neon for ensuring an exclusive theatrical release.

In the aftermath of last year’s dominant performance of Barbenheimer in the cinematic world, with two major film titans leading the charge, and as we navigate an unpredictable movie landscape, the main discussion for this year’s awards season revolves around strategies that filmmakers can employ to ensure their films are watched, preferably in theaters. The criticism that the Oscars recognize movies that few people have seen is not a new one, but it has become more pertinent in the era of streaming. The heart of the matter lies in where and how these movies are viewed, as well as the degree to which directors can influence this. While not every director or nominated writer or actor uses awards season for self-promotion, Baker’s consistent focus on this issue has given this year’s awards ceremony a sense of urgency that resonates with many in the industry.

Above all, Baker shared with Vulture during the Writers Guild Awards that he primarily creates his films for cinema viewing in theaters, considering home entertainment as a secondary concern. He often expresses this viewpoint publicly because he hopes filmmakers can unite to prolong the theatrical release period, thereby helping and sustaining both independent theaters and large multiplex chains. At present, these establishments are facing the risk of closure, and Baker questions his continued movie-making if it’s just for television.

Afternoons spent at the cinema might not initially seem like a form of protest, but more and more filmmakers are beginning to see it that way. As Marielle Heller, director of “Nightbitch”, put it, many filmmakers fell in love with their craft as children because they cherished going to the movies and experiencing the camaraderie that comes from sitting together in the dark. Throughout her career, Heller has been fortunate enough to have her films distributed in cinemas. She believes that post-COVID, it’s even more crucial to remember the joy of social interaction.

Speaking from both a creative and political standpoint, Joslyn Barnes, the producer and co-writer of “Nickel Boys” alongside director RaMell Ross, emphasized that the film’s visual appeal and immersive sound design are best experienced on the big screen. The fact that “Nickel Boys” didn’t perform well at the box office, despite its high pedigree, highlights the current challenges faced by cinema-going. Barnes further stressed that attending events like this is not just about promotion but also about unity and coming together in person, which is increasingly rare due to decreasing public spaces. She added that in a participatory democracy, it’s crucial for people to gather, an aspect that is being gradually eroded and undermined culturally, politically, and legally. However, the momentum for this film was briefly rejuvenated when Barnes accepted the award for Best Adapted Screenplay less than an hour later, sparking excitement among the audience as they celebrated the underappreciated film’s significant win.

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2025-02-19 20:54