Why ‘Anora’ director Sean Baker’s ‘battle cry’ for theaters may fall on deaf ears

Sean Baker, the now four-time Oscar-winning filmmaker behind best picture champion “Anora,” made the most of the moment when he accepted the trophy for directing.

Speaking to his Hollywood peers from the movie business’ biggest stage, he gave an impassioned testimony for the importance of the theatrical moviegoing experience, which, as he rightly pointed out, is “under threat” in the age of streaming. Reading from a piece of paper, he described a dire situation, with “nearly 1,000 screens” disappearing in the U.S. after the COVID-19 pandemic.

“[I]n a time in which the world can feel very divided, this is more important than ever,” Baker said from the Dolby Theatre stage. “It’s a communal experience you simply don’t get at home.”

He called on filmmakers to keep making movies for the big screen. He implored distributors to focus “first and foremost” on theatrical releases. And he asked parents to introduce their offspring to movies in theaters to mold the next generation of moviegoers and movie makers.

“Movie theaters — especially independently owned theaters — are struggling, and it’s up to us to support them,” he said in what he called his “battle cry.” “If we don’t reverse this trend, we’ll be losing a vital part of our culture.”

If you closed your eyes during that speech, you could almost see the folks at the National Assn. of Theatre Owners pumping their fists. In fact, soon after the telecast ended, the Washington lobbying group and trade organization’s president and chief executive, Michael O’Leary, sent out a statement heralding Baker as “an unwavering champion for the theatrical experience.”

Fittingly, Baker was presented the directing award by fellow theater supporter (and cinema owner) Quentin Tarantino, who helped launch “Anora” star Mikey Madison when he had her character mauled and burnt to a crisp at the climax of “Once Upon a Time … in Hollywood.”

Baker’s assessment is correct. And if anything, he’s underestimating the struggles of the multiplex chains and mom-and-pops. According to the theater owners’ association, the U.S. lost more than 2,000 screens from 2019 to 2022 — a 5% drop.

So yes, theaters are in a tough spot, and that’s an unfortunate reality, especially for the independent movie business.

But Baker’s message may fall on deaf ears. Netflix, which remains committed to its straight-to-streaming model, may not have a best picture winner (though not for lack of trying), but it is a fixture as a buyer on the indie market at a time when filmmakers need an outlet willing to pay up.

And how many Oscar voters opted to watch “Anora” or, even more egregiously, “The Brutalist,” through the Academy of Motion Picture Arts and Sciences’ screener portal instead of in theaters?

To the chagrin of theater operators, the major studios have, for the most part, settled into a business model of shorter theatrical windows, choosing to make movies available for premium digital rental and streaming much sooner than they did before COVID-19.

AMC Theatres chief Adam Aron recently encouraged studios to extend their exclusive theatrical windows. Baker himself has made the argument for a return to the way it used to be.

That’s a big ask.

Before the pandemic, studios had long wanted to experiment with shorter windows, believing the change would better serve audiences and maximize their marketing efforts. While some fans love seeing smaller movies in theaters, having an at-home option is undeniably convenient, especially for budget-conscious viewers.

Christopher Nolan, director of last year’s best picture winner “Oppenheimer,” can demand a 120-day exclusive big-screen showcase, but he’s a rare exception.

U.S. distributor Neon gave “Anora” a robust theatrical run, believing that to be the best way for the picture to make a splash. It clearly worked, as the movie claimed the industry’s top prize after generating $41 million in global box office receipts, including $15.6 million domestically. The movie cost just $6 million to make.

“Anora’s” victory should be celebrated as a moment of triumph for independent film, along with the success of Brady Corbet’s “The Brutalist.” “Anora” won five statuettes, including a surprise lead actress victory for Madison; “The Brutalist,” released by A24, was victorious in three categories: original score, cinematography and lead actor.

As “Anora’s” producers said while accepting the best picture award at the end of the night, the movie was a true indie. It also further established Neon’s movie-picking bona fides, bringing the company’s best picture winner count to two (alongside “Parasite”) and tying A24, which won for “Moonlight” and “Everything Everywhere All at Once.”

“Long live independent film,” Baker said after his movie won best picture.

It’s also a moment to reflect on why the big studios generally no longer make the kinds of films that earn the industry’s most coveted kudos on a telecast that’s supposed to serve as an infomercial for Hollywood. “Anora’s” win and relatively small box office haul is added proof that the Oscars have become increasingly niche.

Indie film needs a confidence boost. The whole industry is fueled by filmmakers’ belief that their artwork will beat the odds, and those odds are becoming tougher. Despite the success of Neon, A24 and even “The Substance” distributor, Mubi, there aren’t enough outlets for the amount of material being produced.

Independent distributors only have so many slots on the calendar and so many resources to mount a true marketing campaign.

Further, theaters and studios have trained moviegoers to view the theatrical experience as something largely reserved for massive spectacles and franchises. The primary audience for indies, older moviegoers, didn’t come back to the cinema as fast as other demographics. The set of issues is partly why the dealmaking at this year’s Sundance Film Festival was so sluggish, in addition to the L.A. fires and the lack of commercial offerings.

It’s a shame because Baker is right about the power of the communal experience of an artistic film. The emotional punch at the end of “Anora” lands harder in a theater, when the audience is left to sit, to borrow Baker’s words, in “devastated silence.” Powerful emotions don’t require big budgets, but a big screen sure helps.

Stuff we wrote

Don’t call them ‘extras.’ For one night, Hollywood’s background actors are the real stars. Although you won’t get famous as a background actor — if you do it right — it’s possible to make a living doing it in Los Angeles.

Forget the celebrities. Meet L.A.’s small businesses that depend on the Oscars. Hollywood’s biggest night is also a huge opportunity for production workers and small businesses around Los Angeles.

California legislators propose bills to expand film and TV tax credit program. To address the flight of productions to other states and countries, legislators are proposing bills that they say will make it more attractive to film in California

Beloved owner of one of Hollywood’s last costume shops dies at 90. Ursula Boschet, the iconic Hollywood costumer who was a local institution for half a century, has died.

ICYMI:

• MSNBC’s post-Joy Reid era begins with hiring of Politico veteran Eugene Daniels
• Golden Globes ends policy of paying 50 voting members $75,000 salaries
• VFX giant Technicolor lays off more than 200 workers in Culver City

Finally ...

Listen: Rock duo Larkin Poe’s new album, “Bloom.” Standout track: “Bluephoria.”

Watch: “SNL’s” parody commercial for CouplaBeers.