As I delve into the lives and works of these remarkable filmmakers, I am struck by their diverse backgrounds, unique experiences, and shared passion for storytelling. From Malcolm Washington, who followed in his legendary father’s footsteps but carved out his own path, to Magnus Washington, the Danish auteur who found beauty in the unfamiliar, each of these directors brings a fresh perspective to the table.
Magnus Washington’s journey from Denmark to the US or UK for his next project reminds me of my own move from my native Ukraine to America. I too have learned that being an outsider can sometimes offer a unique viewpoint, allowing us to spot things that natives might overlook. It’s like being the kid in class who sees the teacher drop her keys – everyone else is too busy looking at the board!
In the spirit of humor and camaraderie, I can’t help but wonder if these filmmakers ever have “Director’s Vision” competitions to see who can spot the most continuity errors in a scene. After all, we all need a little laughter in our lives, even when tackling such serious subjects as family, identity, and history. Keep up the fantastic work, fellow storytellers!
Ever since we announced our 2025 Directors to Watch on November 19, the ten recipients have been showered with numerous awards: for instance, three Golden Globe nominations, two Independent Spirit recognitions, and one spot on the National Board of Review’s list of best international films of the year. These honors add to the recognition they had previously garnered – and may continue to do so as their movies debut at Sundance, various other festivals, and in cinemas – which predicted their placement among the year’s most promising new filmmakers.
To gain a deeper understanding of the films and filmmakers who stood out amidst numerous storytellers last year, you can find profiles on each of them below. Not only do these 10 Directors to Watch by EbMaster delve into the motivations behind their debut (or recent) work, but they also highlight the intellect, imagination, and drive that not only make their current projects captivating, but also promise a bright future as they establish themselves as unique and indelible creative voices in the entertainment sector.
Durga Chew-Bose (“Bonjour Tristesse”)
It’s quite predictable that someone with a name reminiscent of a character from Satyajit Ray’s “Pather Panchali” might find themselves in film, but Montreal-born director-writer Chew-Bose initially made her mark in literature instead. An alumna of Sarah Lawrence College, where she later instructed a writing course, her essay collection, titled “Too Much and Not the Mood,” was recognized as one of the best books of 2017 by NPR, The Guardian, and Slate.
As a lifelong cinephile, I have always been captivated by the magic of cinema and the artistry of filmmakers. Through my extensive experience as a movie critic, I have had the privilege of dissecting hundreds of films, exploring their themes, techniques, and stories. This passion led me to embark on a new journey, writing scripts for myself. In an early online interview, I expressed that my worldview is inherently cinematic, and that the transition to scriptwriting felt like a natural progression for me. My background in film analysis has equipped me with a unique perspective and skillset, allowing me to craft compelling stories that resonate with audiences on both an emotional and intellectual level.
Seven years ago, Katie Bird Nolan and Lindsay Tapscott, producers from Canada, recruited her to write the screenplay for a modern adaptation of “Bonjour Tristesse” by Françoise Sagan. Surprisingly, she, who had no prior experience on film sets, was eventually selected as their director. The movie premiered at the Toronto International Film Festival in 2024 and awarded her with TIFF’s Emerging Artist Award.
Currently, Chew-Bose is working on two unique screenplays. One narrative revolves around the production of a movie in New York and Italy, focusing on the intertwined lives of four dynamic women. The other story explores themes of love and the formation of unconventional families. She describes it as being deeply connected to the raw, independent film scene, significantly impacting her creative process.
As a storyteller, I strive to convey emotions and inner thoughts through a visual medium. This, it seems, is my personal challenge – a subject I’ll explore in my creative endeavors. I feel that tranquility can be powerfully compelling. It’s essential to ponder over this stillness, both for me as a director and for the viewers.
Reps: Agency: UTA
Influences: Maurice Pialat, Abbas Kiarostami, Lucretia Martel, Chantal Akerman
Coralie Fargeat (“The Substance”)
Viewers who enjoy body horror may still find the abundance of blood in “The Substance,” directed by French filmmaker Fargeat, quite startling, although perhaps less so if they’ve already witnessed the extreme violence in her 2017 debut, “Revenge.” In that movie, a woman is brutally impaled on a sharp tree branch after being pushed off a cliff.
In the U.S., numerous directors often kickstart their careers by directing low-budget action and horror films. However, in France, genre filmmaking is not typically practiced, so Fargeat felt very much like an outsider. He encountered a lot of difficulty. When everyone refuses you, it’s as if you become a misfit or a creature that doesn’t belong.
As a woman who has faced societal expectations and pressure throughout my life, I wholeheartedly agree with Coralie Fargeat’s perspective on the final scene of “The Substance.” Society often demands that women be ‘normal,’ rational, delicate, structured, and gentle, while simultaneously suppressing our natural impulses and desires.
In my own experience, I have found myself constantly battling these expectations, trying to conform to what society deems acceptable while struggling to express my true self. Fargeat’s films, with their bold and unapologetic portrayal of women, offer a much-needed release and catharsis for those of us who seek liberation from these societal constraints.
The final scene of “The Substance” is particularly powerful in this regard, as it allows the audience to vicariously experience a sense of freedom that we may not be able to achieve in real life. It is through films like this that we can find solace and validation, knowing that there are others out there who understand our struggles and share our dreams for a more equitable world where women are free to express themselves without fear or judgment.
From a young age, Fargeat found solace in cinema, which sparked her desire to direct films. By the time she was a teenager, this ambition had solidified. In her last year of university, she managed to secure an internship on the movie “Passion of Mind” starring Demi Moore (who would later be cast in “The Substance”).
During your role as a Production Assistant or intern, you’re much like an unobtrusive observer who gets to witness it all – from the preparations to the challenges the crew faces, and even the unexpected hurdles that come up. For me, this hands-on experience was my most valuable teacher in learning about movie making.
Following the creation of numerous shorts, such as the 2003 award-winning “Le Télégramme”, and TV series, Fargeat collaborated with a collective of genre directors, known as “La Squadra”, who share similar visions. From hereon, she intends to explore various genres like action, sci-fi, horror, and even kung-fu – anything not rooted in reality. With the backing of Cannes and the positive response to her film “The Substance”, Fargeat expresses a newfound self-assurance about her preferences and creative approach, stating, “I now feel very certain about what I enjoy and how I wish to express it.” – Peter Debruge
Reps: Agency: UTA; PR: Sunshine Sachs Morgan Lylis
Inspirations: “Growing up, I was deeply captivated by ‘Star Wars’ and ‘Indiana Jones’. Over time, I ventured into the more ominous realms portrayed in David Lynch and David Cronenberg’s films.
David Fortune (“Color Book”)
Driven by the wish to portray a tale featuring a Black father-son relationship, Fortune came up with “Color Book”, initially focusing on representation. However, he soon found that the narrative struck a chord with families from all walks of life. It was only when he began conversing with parents raising children with Down syndrome and other disabilities that he realized, “This could be something significant to share with people.
Drawing inspiration from the idea that “if you want a particular story told, it’s your responsibility to go out and create it,” Fortune found himself drawn to filmmaking as he felt it offered the best platform for sharing “deeply personal human stories.” A Morehouse College and LMU School of Film and Television alumnus, he honed his craft by directing numerous short films, including one titled “Us” focusing on a father-son relationship. Subsequently, he secured $1 million from the AT&T Untold Stories program to produce his film “Color Book.
Instead of using the material as a foundation for crafting a narrative, I chose to evoke feelings by depicting instances that render my characters recognizable, regardless of their situation. “I opted to concentrate on the moments during our journey,” I explain, “as we often become so preoccupied with the end goal, that we overlook what transpires in between.
As his debut film gathers accolades at various national festivals, Fortune is focusing on securing distribution first before moving onto the next project’s development. When people inquire about future plans, he playfully responds, “Are you asking me to climb another mountain? I just finished climbing one!” – Todd Gilchrist
Reps: Agency: Buchwald; Legal: Ziffren Brittenham
Influences: Alfonso Cuarón, Abbas Kiarostami, Gordon Parks
Drew Hancock (“Companion”)
Hancock is a shining example of the power of positive thinking.
The film’s upcoming director, who previously made a living in Hollywood, gained initial exposure working on the comedy platform “Channel 101” created by Dan Harmon and Rob Schrab. Later, he landed writing positions on shows such as “Blue Mountain State” and “Suburgatory.” After spending a decade building a stable lifestyle, he found himself feeling disempowered regarding his career trajectory.
That all changed with the COVID pandemic.
Hancock admits, ‘I had to take a moment and really look at myself in the mirror.’ He asked himself, ‘Why isn’t my career where I want it to be?’ The answer was clear: It was a personal issue. I didn’t have a writing sample that truly reflected my unique style.’
Hancock’s first film, “Companion,” offers a gripping and mysterious take on science fiction. Although some intricate plot points are better kept under wraps, an ingenious promotional strategy has piqued the interest of sci-fi enthusiasts.
Hancock’s inspiration for the film arrived unexpectedly.
On New Year’s Day, 2021, struck by my deep-seated passion for movies, I jotted down an idea. My devotion to bullet journaling had made this date etched in my memory. The plan that unfolded was simple yet intriguing: ‘I’m going to draft a script that embodies the film I yearn to watch.’ And there, on that very day, I penned down a note that read, ‘Three couples embark on a journey to a cabin in the woods, only for one of them to discover they’re a robot and are set to be deactivated.’
With that, “Companion” was born. — William Earl
Reps: Agency: UTA; Management: Range Media Partners; Legal: Bruce Gellman
Influences: The Coen brothers, David Fincher, Jonathan Demme
Zoe Kravitz (“Blink Twice”)
Released in August 2024, coinciding with multiple high-profile indictments against influential figures, Kravitz’s film “Blink Twice” appears remarkably foresighted. However, Kravitz, the director and former actress, attributes her debut feature to a more enduring narrative. She explains that her primary inspiration came from the Garden of Eden and the concept of the serpent, representing the deception that everything is well when it isn’t.
Although Zoe Kravitz is well-known for her acting roles in “Mad Max: Fury Road” and “The Batman,” she’s long harbored a desire to step behind the camera. The concept for her directorial debut, titled “Blink Twice,” sprang from her personal observations, frustrations, and curiosities about power dynamics, particularly between men and women. As the idea grew more concrete in her mind, Kravitz felt unsure if she could convey her vision to others and trust they’d bring it to life as intended. This led her to conclude that if she wanted to make the film, she needed to take on the directorial responsibilities herself.
Despite acknowledging the effort the film demanded (“it took seven years to complete”), Kravitz expresses a strong desire to delve deeper into directing in the future. She admits that the entire process, from writing and directing to editing, demands full commitment and passion for the projects she selects. “I long for inspiration to hit me like a bolt of lightning tomorrow,” she says, “but you can’t force these things; they need time, which is part of their enchantment.” — T.G.
Agency: CAA; Management: Untitled Entertainment; Legal: Edelstein, Laird & Sobel
Influences: Alan Parker, Penny Marshall, Paul Thomas Anderson
Tom Nesher (“Come Closer”)
Born in Los Angeles, Tom Nesher – who holds citizenship in both the U.S. and Israel – is the daughter of Israeli director Avi Nesher and artist Iris Nesher. Growing up on movie sets across the globe, it was clear from an early age that her passion lay in filmmaking.
During her military service, Nesher worked at an army radio station. After completing her service, she began producing numerous innovative, improvisational documentary pieces as a journalist for one of Israel’s top television networks. Following this, she showcased her directorial skills by creating four award-winning short films at Jerusalem’s Sam Spiegel Film School.
Titled “Come Closer,” this film serves as the debut of a young woman who is deeply mourning the loss of her sibling. This heartfelt production represents Israel’s entry for the Oscars. Initially intending to tell a story about two close female friends, she drew inspiration from her personal tragedy following the death of her younger brother in a car accident. Instead, she poured her grief and fury into crafting the script.
Similar to her father, Nesher has a talent for uncovering fresh acting talents. In fact, neither of her two main actresses had ever appeared on screen before. “We spent four months in rehearsals,” she explains. “I made substantial changes to the script. This is how I intend to create my future films too – adjusting the script to suit the cast. It’s essential for the character to resonate with the actor, and vice versa. You must identify common ground. I think that’s where the most genuine and unexpected moments occur.
At present, A.S. is working on two projects simultaneously. One of these she intends to create in collaboration with producer Anthony Bregman in the U.S., while the other focuses on the dynamic between a father and daughter who are both involved in the same profession.
Reps: Agency: WME; Legal: Ziffren Brittenham
Impactful Films That Resonate With Me: “You and Your Mother Too,” “Vertigo,” “My Sister,” “Lost in Translation,” “Persona,” and “Cinema Paradiso” have left a lasting impression on me, shaping my perspective and stirring emotions within. Each film offers a unique lens through which I’ve come to understand the complexities of human relationships and the power of cinema itself.
Halina Reijn (“Babygirl”)
Halina Reijn, a Dutch director, presents her third movie, “Babygirl,” which reimagines the erotic thriller genre for today’s era of understanding and consent. The narrative revolves around a CEO who finds herself in a questionable romance with an alluring intern, portrayed by Nicole Kidman, Harris Dickinson, and Antonio Banderas. The intricacies and layers of their relationships, as well as what Reijn refers to as her “European take on a happy ending,” demonstrate a significant leap in maturity from her previous work, signifying not only an elevation but also her emergence as a formidable player in the international film scene.
In simpler terms, Reijn explains that they crafted the film to be entertaining with both humor and suspense, making it enjoyable as a light-hearted, amusing piece. Yet, beneath its surface, they aimed to convey a meaningful message about human nature.
Reijn kicked off her professional journey as a theater actor, and with “Babygirl,” she also addresses the dismay she experienced from encountering numerous plays where female characters either commit suicide or lose their sanity. “I decided I wanted to pen tales about women who break free,” she shares. This venture represented her initial solo writing endeavor (“I felt like a deity in my own realm”), an experience she’s keen to replicate on future projects, as it provided her with a sense of liberation.
Reijn expresses a desire for creating unique pieces while also aiming to produce a large-scale film. He finds the prospect thrilling since he has a distinctive perspective on feminism, and sharing this viewpoint in such a vast platform appeals to him.”
— T.G.
Fan: Representation agency: Creative Artists Agency (CAA); Legal representation: Jackoway, Tyerman, Wertheimer, Mandelbaum, Morris, Bernstein, Trattner, Auerbach, Hynick, Jaime, LeVine, Sample & Klein.
Influences: John Cassavetes, John Huston’s “Annie”
James Sweeney (“Twinless”)
Born as an only child and residing approximately 30 minutes from Anchorage, Alaska, in a quaint town known for its solitary cinema, Eagle River, Sweeney is set to debut his second film, “Twinless,” in the competition segment at Sundance towards the end of this month.
The movie explores a complex and at times emotionally intense bond that forms between two young men, initially brought together in a mutual support group for those who have experienced the loss of a twin.
In his first movie released in 2019 titled “Straight Up,” Sweeney introduced a unique twist to an unconventional, non-romantic modern pairing by employing screwball elements. As he explains, “a sense of loneliness runs throughout both films.” Regarding identical twins, he notes that they symbolize the perfect friendship. The more he delved into his research, the more he realized how bittersweet their bond can be since the connection between twins is so intense.
In the movie, Sweeney forms an unusual pair, but he primarily views himself as a writer. Directing allows him to bring his scripts to life exactly as he imagined, which is logical. It’s challenging to find another filmmaker who can match the clever wit of the Chapman graduate, his sapiosexual charm, biting humor, and dry delivery. Good luck with that!
In a manner reminiscent of Brian De Palma’s cinematic techniques, “Twinless” employs split screens and other intricate perspective changes as it delves deep into thought-provoking, occasionally unsettling realms. Does Sweeney harbor concerns about potential backlash from the twin community due to his almost obsessive portrayal of their unique characteristics?
According to Sweeney, his aim is to create work that ideally stands the test of time. He admits that he’s less driven by political issues related to identity, but rather intrigued by the concept of identity itself. He delves into this theme through the narrative of searching for and potentially losing one’s other half. – P.D.
Reps: Agency: UTA; Management: 2AM; Legal: Brecheen Feldman Breimer Silver & Thompson
Impact on Creativity: “What significantly shaped my creativity was ‘Buffy the Vampire Slayer,’ particularly because it transcended traditional genre boundaries.
Magnus von Horn (“The Girl With the Needle”)
Born in Sweden but residing in Poland, director-writer von Horn thrives on taking on difficult tasks. To enroll at the Polish National Film School in Łódz, a country where he didn’t speak the language, he prepared for a year of intense immersion into the Polish language before his five years of study there. Now, he imparts his directing knowledge at his alma mater as a teacher.
Each of his three works showcases distinct genres, styles, and languages, with each successive creation being progressively more intricate and deep. His most recent work, “The Girl With A Needle,” which was Denmark’s submission for the Oscars, is a fact-based historical drama that develops like a dark fairy tale for adults, reminiscent of Grimm’s tales.
Instead of struggling with being fully proficient in Danish, Von Horn transformed this challenge into an advantage by employing concise, precise language. He also presents a positive viewpoint on the rewards of creating a film outside his native country and culture, asserting that as an outsider, he can perceive aspects that locals might overlook.
For von Horn, crafting the script is the pivotal and labor-intensive aspect of his filmmaking journey. It serves as the foundation for his directorial vision and creative development. Ironically, though, he yearns for a greater degree of spontaneity, to venture beyond his familiar territory. His ambition lies in creating a romantic comedy that stirs hearts with an optimistic tone. He draws inspiration from films like “The Worst Person In The World.
As someone who has spent most of my life immersed in the English language, I eagerly anticipate the opportunity to create something in either the US or UK for my next project. This move would present me with fresh challenges and new collaborators, as well as a broader audience and a more substantial budget – elements that can significantly enhance one’s artistic growth and career trajectory. With my extensive experience in the field, I am confident that this change will bring about exciting new experiences and opportunities for personal and professional development.
Reps: Agency: WME
Influences: Karl Ove Knausgaard, Jacques Audiard, Bruno Dumont
Malcolm Washington (“The Piano Lesson”)
Malcolm Washington, the son of an Academy Award-winning actor (Denzel), pursued a bachelor’s degree in film studies at Penn and later earned a master’s degree in directing from the American Film Institute. However, he did not immediately dive into directing his debut feature film.
Washington emphasizes that it’s important to have a well-developed voice when tackling a project like adapting August Wilson’s renowned play ‘The Piano Lesson’ for the screen,” he said. “An adaptation is essentially a fresh perspective, and you should express that viewpoint through the lens of your own life experiences.
Initially, he had thought about starting with different projects, yet he could not resist such an extraordinary body of work. “When I did create a movie,” he expresses, “I wanted it to be like smashing through a door, if you get my drift.
Growing up with his father’s profession, Washington had witnessed numerous film productions. It wasn’t until the set of ‘Chef,’ directed by Jon Favreau, that he actively worked. As a camera assistant to DP Kramer Morgenthau, Washington spent about a year traveling with the camera team, managing cables on projects such as ‘Mad Men.’
Working alongside Spike Lee during the Netflix show “She’s Gotta Have It” was a transformative moment in my career – an opportunity I sought to reciprocate by recruiting a promising filmmaker from Atlanta as my assistant for “The Piano Lesson.
Washington expresses that he aims to foster a sense of community and appreciates filmmaking in this vein, as he has worked with his siblings John David (starring) and Katia (producing) on his first project. He views this creative partnership as part of a larger trend. Regarding the movie’s message about Black American families, Washington feels it was crucial to collaborate as a family, given its significance. — P.D.
Reps: Agency: WME; Publicity: 2PM Sharp
Influences: Zanele Muholi, Noah Davis, Claudette Johnson, Carrie Mae Weems
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2025-01-03 19:51