NEW YORK — Sean Baker’s fascination with the experiences of sex workers dates back to his 2012 film “Starlet.” To create that drama, which revolves around the adult film industry in San Fernando Valley, he immersed himself in the lives of sex workers, many of whom appeared in the movie. This experience highlighted for Baker the myriad stories waiting to be explored in this often-overlooked community. “There’s a whole other movie,” Baker remembers a crew member saying during filming, which resonated with him deeply. “I was like, ‘There’s a million stories to be told in this world.’”
Since then, Baker has traveled across the U.S. for his films, depicting settings that range from cozy West Hollywood donut shops to expansive rural Texas. Despite his diverse locations, the narratives centered on sex workers remain a key focus. His 2015 film “Tangerine” follows two trans women in Los Angeles seeking vengeance against a cheating partner. In “The Florida Project” (2017), a struggling single mother turns to sex work to provide for her child while living in a budget motel. Baker’s 2021 film “Red Rocket” features the misadventures of a down-and-out porn actor struggling to reintegrate into life.
Baker’s latest project, “Anora,” showcases a Brooklyn exotic dancer, portrayed by Mikey Madison, who unexpectedly marries the son of a Russian oligarch. This film won the prestigious Palme d’Or at the Cannes Film Festival this year. During the accolades, Baker took the opportunity to advocate for reducing the stigma surrounding sex work, dedicating the award to “all sex workers, past, present, and future.” This recognition marked a significant moment for the 53-year-old filmmaker, who has long viewed Cannes as the zenith of artistic achievement in cinema.
Baker reflects on the victory, admitting it has sparked an existential contemplation within him. He acknowledges that this achievement is not about opening doors to mainstream opportunities; instead, it asserts his commitment to continue making independent films. Despite his accolades, Baker remains grounded and less interested in Hollywood’s trappings, favoring the intricate stories of communities often hidden from view. According to Samantha Quan, a producer on “Anora” and Baker’s spouse, “He’s always been attracted to people and situations that exist but often go unnoticed.”
The buzz surrounding “Anora” positions it as a potential best picture nominee at the Academy Awards, alongside nods for best actress. Baker’s journey to this pivotal moment stands apart from the mainstream trajectory often taken by filmmakers. He is not drawn to television or franchise films, focusing instead on creating independent narratives rooted in genuine experiences that blend humor and social critique.
In an industry inundated with high-budget spectacles, Baker’s unique storytelling resonates with deeper societal issues, suggesting a moral emptiness in how society values individuals and experiences. The stark realities of poverty depicted in “The Florida Project” are juxtaposed against the backdrop of Disney World, while “Anora” portrays a world of transactional relationships forged in absurdity and tragedy. “It’s hard to ignore the issues we face in this divided country,” Baker remarked, recognizing the necessity of addressing societal concerns within his work.
Having enjoyed a 30-year career as an independent filmmaker, Baker acknowledges that the path hasn’t been easy. “I can’t claim to have faced the same struggles as undocumented immigrants or marginalized sex workers,” he noted, “but I’ve shared my own struggles as an indie filmmaker, constantly hustling to make rent.” Born to a patent attorney and raised in suburban New Jersey, Baker pursued film studies at NYU. His initial vision was to create a big blockbuster like “Die Hard,” but his taste evolved, influenced by arthouse cinema and filmmakers like Richard Linklater whose styles began to permeate his work.
Years of personal challenges, including grappling with a drug addiction, enriched Baker’s understanding of the human experience. Conversations with delivery workers in his apartment above a Chinese restaurant inspired the creation of his co-directed project “Take Out,” which served as a turning point in his career. “That gave me a fresh start,” he reflects, offering insights into his artistic evolution. Notably, he emphasizes the significance of immersive research, often leading to screenplays designed to be adapted through improvisational performances, a hallmark of his filmmaking style.
Baker has tirelessly envisioned a film set in Brighton Beach, initially intended as a stereotypical “bro movie.” However, after learning of a compelling story involving a woman left behind and manipulated, the project morphed into a deeper exploration of sex work. According to Quan, their rigorous research methodology encourages them to truly understand and embed themselves in the environments they depict. “We don’t just get a surface view. We engage in a way that becomes part of the narrative,” she stated.
When preparing “Anora,” Baker typically selects lead actors before finalizing a script. This process led to his casting of Yura Borisov, Mark Eydelshteyn, and Madison. After witnessing Madison’s performance in “Scream,” Baker felt convinced of her suitability despite initial skepticism from investors. The creative partnership between Baker and Madison flourished with collaborative discussions about character development, inspired by insights from consultant Andrea Werhun, author of “Modern Whore.” Baker provided Madison with a selection of classic cinema, including Fellini’s “Nights of Cabiria,” to guide her characterization.
Baker sought inspiration for the film’s visual storytelling from iconic films like “The Taking of Pelham One Two Three,” aiming to capture the essence of New York after dark. A distinctive thematic choice was to evoke a ‘70s aesthetic by incorporating subtle hints of red in every shot, yielding a nostalgic visual atmosphere. Even amidst modern narratives, Baker aspires for his films to feel timeless, culminating in a distinct artistic vision reflective of a bygone era.
Throughout production, Baker employed guerrilla filmmaking tactics. An example includes sending Madison into public venues for spontaneous interactions, emphasizing the organic nature of the performances. For intimate scenes, Baker and Quan demonstrated the movements, creating an environment of comfort and camaraderie for Madison and Eydelshteyn. “Sean was dedicated to fostering a safe space, which made us feel relaxed and grounded,” Madison noted, adding playful anecdotes that helped ease any tension.
While Baker draws inspiration from the filmmaking style of the past, his eyes are set on the future of cinema. While he celebrates “Anora’s” accolades, his priority is the well-being of his collaborators. He hopes that heightened visibility will advocate for independent films in the broader cinematic landscape, reigniting audience engagement with the magic of theater. Baker asserts, “We don’t need to overspend on films,” advocating for industry reforms to embrace lower-budget productions. He believes this ongoing discussion will reshape audience attitudes and reaffirm the value of unique cinematic experiences on the big screen.
