NEW YORK — Sean Baker’s fascination with the experiences of sex workers traces back to his 2012 film “Starlet.” In crafting this drama set in the adult film industry of San Fernando Valley, Baker immersed himself in the lives of sex workers, listening to their narratives. Many of the actresses appeared in the film, and some even became friends throughout the process.
“I can distinctly recall being on set when my director of photography, Radium Cheung, commented on how there are so many stories waiting to be told in this realm,” Baker reminisced. “It struck me then that there are countless narratives to explore within this world.”
Since the inception of his journey, Baker has ventured across various regions of America, with his stories spanning settings from a West Hollywood donut shop to the rural landscapes of Texas. However, the lives of sex workers remain a focal point in his work. The film “Tangerine,” shot on an iPhone in 2015, revolves around two transgender sex workers in Los Angeles seeking revenge on a deceitful boyfriend. Baker’s “The Florida Project,” released in 2017, depicts a single mother’s descent into sex work to provide for her daughter while living in an Orlando motel. His 2021 film “Red Rocket” humorously portrays a washed-up adult film star.
Baker’s most recent project, “Anora,” features Mikey Madison as a Brooklyn exotic dancer who unexpectedly marries the son of a Russian oligarch. The film received the esteemed Palme d’Or at the Cannes Film Festival earlier this year, prompting Baker to dedicate the honor “to all sex workers, past, present, and future.”
At 53 years old, this victory at Cannes represents a monumental achievement for Baker, who has long viewed the festival as the pinnacle of cinematic recognition. “It was an incredible moment for me. Now, I’m left contemplating what it means. I’m still processing it,” Baker reflected in a recent discussion. “This achievement isn’t about creating new opportunities; in stark contrast, it cements what we’re doing. It allows us to continue making these kinds of films.”
Though Baker is a fiercely independent filmmaker, he tends to avoid the limelight and prefers the shadows behind the camera. His films often delve into communities and subcultures that are frequently overlooked. Samantha Quan, producer of “Anora” and Baker’s spouse, notes he is drawn to “people and circumstances that remain unseen by society.”
Yet, with “Anora” becoming one of the year’s standout films, Baker’s work is inching closer to mainstream recognition. The film is widely regarded as a strong contender for the Academy Awards, including a potential nomination for best picture and a best actress nod for its rising star.
Despite achieving this momentous recognition, Baker’s trajectory has not adhered to the conventional routes taken by most filmmakers today. He expresses little interest in television or franchise projects, remaining steadfastly committed to creating films for the big screen. His scrappy independent projects are rooted in real-life experiences and extensive research, striking a balance between screwball comedy and social realism. “Anora” has drawn comparisons to both British social realists like Mike Leigh and comedy masters such as Ernst Lubitsch.
In a Hollywood landscape dominated by huge-budget productions, Baker has carved out a niche by creating what could be characterized as anti-fairy tales. His films often critique societal values and highlight the absurdities of transactions within life. In “Anora,” not only is Madison’s character selling herself, but even the henchmen of the Russian oligarch engage in work they would prefer to avoid. The film vividly encapsulates the both tragic and absurd nature of these dynamics.
Baker’s insights stem from his own life experiences and a commitment to research. “I don’t claim to have endured the challenges faced by undocumented immigrants or marginalized sex workers,” he admits. “However, my own journey as an independent filmmaker for three decades has involved its fair share of hustling. Until recently, I faced quite a struggle just to make ends meet.”
Originally from New Jersey, Baker attended NYU’s film school. Early on in his career, he envisioned working on action films like “Die Hard.” However, his exposure to arthouse and international cinema shifted his creative outlook. While his first feature, the 2000 film “Four Letter Words,” reflected his suburban upbringing, Baker soon turned his focus outward, seeking inspiration from broader life experiences. He grappled with a severe drug addiction, which he eventually overcame. During this challenging time, he lived above a Chinese restaurant and engaged in meaningful conversations with delivery workers, leading to the creation of “Take Out,” co-directed with Shih-Ching Tsou.
“That film provided me with an opportunity to rejuvenate my career during a tough period,” Baker recalls. “I felt utterly disconnected, having lost my connections and friendship circles. While peers like Todd Phillips were already thriving, I was struggling to recover from my addiction.”
With “Take Out,” Baker developed his technique of in-depth research, allowing for screenplays that serve as blueprints for films rich in improvisation, featuring both professional and non-professional actors. For “Anora,” he cast Madison, along with Yura Borisov and Mark Eydelshteyn, before finishing the script. He and Quan also briefly resided in the Brighton Beach area of Brooklyn to absorb the atmosphere.
Baker aspires for the allure of “Anora” to elevate independent and arthouse cinema, possibly leading Hollywood to recognize that smaller, budget-friendly films can significantly impact the industry. He noted the significance of “Anora” alongside Brady Corbet’s “The Brutalist,” a 3 ½-hour feature made for under $10 million, both being strong contenders in the awards conversation.
“It indicates a shift in what the industry might consider,” he remarks, acknowledging the current state of anxiety within Hollywood. “In this climate of panic, the reality is we don’t need to produce films at such inflated costs.”