NEW YORK — It might be hard to fathom, but the aspiration to transform cinema was not the primary objective for Mike Cheslik while he was working on “Hundreds of Beavers.” During his time in the snowy landscapes of Wisconsin, he collaborated with a small crew and focused on capturing humorous moments with his friend, Ryland Tews.

“While we were filming, the thought that kept crossing my mind was how absurd it would be if this became legendary,” Cheslik remarked. Nevertheless, “Hundreds of Beavers” has gained a reputation that, while not quite mythological, certainly fits within the realm of low-budget legend. The film, produced for a mere $150,000 and self-released in theaters, has found a niche within a cinema landscape commonly dominated by high-budget franchises.

This quirky film presents a wordless black-and-white display of slapstick humor centered around a 19th-century applejack seller (played by Tews) who becomes embroiled in a comical feud with a troop of beavers, all represented by actors donned in mascot outfits. Although “Hundreds of Beavers” may not boast an expensive look, it transcends the creativity found in much of contemporary Hollywood fare. Cheslik dedicated countless hours to creating around 1,500 effects shots on his personal computer, culminating in sequences reminiscent of classic animated feats, blending the charm of Buster Keaton with the absurdity akin to the “Naked Gun” franchise.

In a time when independent filmmakers face significant obstacles, the success of “Hundreds of Beavers” may point towards a new direction, albeit one decorated with an abundance of beaver imagery. Facing a lack of interest from major distributors, the film’s creators opted for a self-promotion route that involved a series of playful, carnival-themed screenings. Since its premiere in January, the film has consistently been showcased in at least one theater each week, although it never expanded beyond a maximum of 33 venues at once, a stark contrast to the 4,000 locations typical for blockbuster releases. The film has grossed close to $500,000, with more than half of this revenue earned after it became available for video-on-demand viewing.

The co-director of the Academy Award-winning film “Everything Everywhere All at Once,” Daniel Scheinert, referred to “Hundreds of Beavers” as “the future of cinema,” a declaration that sparked discussion across various film forums. While at first glance a bold statement for a film centered around a character in an oversized beaver hat, it might reflect the evolving landscape of filmmaking where lower-budget, DIY projects could increasingly fill the void left by risk-averse, corporate Hollywood.

Tews, who co-wrote the film alongside Cheslik, expressed hope that filmmakers would shift away from creating content that resembles commercials, encouraging a more grassroots approach that allows for creativity to flourish. “I just wish we could stop idolizing Hollywood as the benchmark,” he stated. “Because it really isn’t the gold standard anymore.”

The North American box office has experienced an 11% decline year-to-date compared to the previous year, down approximately 25% from pre-pandemic levels, illustrating the struggles of numerous films to make a dent in theaters. According to Franchise Entertainment Research, 41 films released widely in 2024 have grossed less than $3 million, nearly triple the number from 2019.

The production and marketing costs of mainstream films have significantly impacted the willingness of even independent distributors to finance projects. For instance, Paramount Pictures employed an unprecedented strategy to promote “Gladiator II,” a $250 million film, by running its trailer across over 4,000 platforms, encompassing TV networks, radio, and digital venues. Capturing the audience’s attention has become increasingly challenging, even for the biggest blockbusters.

As filmmakers grapple with the rising costs associated with movie production and marketing—limits that seem to apply predominantly to secure box office hits—many are re-evaluating the financial model. Particularly since last year’s labor strikes, film production levels have not bounced back, leaving a number of industry professionals searching for work.

Brady Corbet, who directed the acclaimed film “The Brutalist,” boasts that smaller budgets don’t necessarily equate to reduced artistic ambition. Similarly, Sean Baker, known for his groundbreaking film “Tangerine,” asserts that the quality of film can maintain its integrity even with lower budgets. His $6 million film “Anora” has received significant critical praise this year.

“Right now, panic is setting in across LA,” Baker remarked in a past interview. “There’s no reason films can’t be made for fewer resources. They simply don’t have to be that expensive.”

A fitting example of this trend is “Hundreds of Beavers,” which remains devoted to the traditional appeal of cinema. On December 5, it will embark on an encore theater tour, making its rounds in about 70 locations for its widest release yet, nearly one year after its initial debut. This special screening event has been dubbed “A Northwoods Christmas.”

“Hundreds of Beavers” serves as a celebration of indie filmmaking, providing a platform that Cheslik hopes inspires aspiring creators to channel the same kind of imaginative inventiveness typically seen in brief TikTok clips into full-length films. “The possibilities are endless,” he encourages. “If you can take a phone and create a 90-minute movie instead of just a 30-second clip, why not?”