In a year dominated by major studio blockbusters, one independent production company has emerged as a force to be reckoned with at the Academy Awards. FilmNation, the New York-based indie studio, is the common thread linking two of the biggest contenders for best picture — Sean Baker’s “Anora” and Edward Berger’s “Conclave” — which were then sold to and distributed by Neon and Focus Features, respectively.
FilmNation’s presence in this year’s Oscar race is undeniable. “Conclave,” a gripping religious thriller set within the Vatican, has grossed over $100 million worldwide. At the same time, “Anora,” a bold dramedy about a sex worker, has already surpassed $40 million on a $6 million budget. The company’s unique approach to filmmaking — one that prioritizes audacious storytelling, filmmaker-driven projects, and strategic partnerships — has paid off in a major way.
Having two films as the undisputed frontrunners in the Oscar race is an extraordinary feat for any studio, let alone an independent one. Glen Basner, FilmNation’s CEO and founder, attributes the company’s success to its commitment to quality storytelling and a bit of serendipity.
“You work hard to try and make every movie special, and there’s a lot of things that have to happen to get to a point like this — good fortune, good luck,” Basner tells Variety. “But at the end of the day, it comes down to the directors, the filmmakers themselves. While we won’t choose which one should win, we’ll be happy for either.”
Basner acknowledges the awards recognition is gratifying, but FilmNation’s ultimate goal is to ensure that these films have a lasting impact. “In 10 or 20 years from now, these films could be referencing points for younger filmmakers coming into the business.”
Unlike traditional studios, FilmNation operates without a built-in distribution arm, which forces the company to be selective and strategic about its projects. Ben Browning, FilmNation’s president of motion pictures, believes that what could be seen as a disadvantage actually gives the company an edge.
“We’re a lot smaller than many other companies. We’re not a direct distributor, we don’t have tons of consumer data, we don’t have intellectual property that we’re mining,” Browning explains. “So every single time, all our calculated risk is to look for the absolute best scripts with the absolute best filmmakers, and make the movies as well and as responsibly as we can.”
This filmmaker-first approach led to box office success and allowed FilmNation to champion original, visionary storytelling consistently.
“Anora” and “Conclave” were independently financed and produced before landing with ideal distribution partners. “Anora,” which premiered at Cannes, found a home with Neon, while “Conclave,” which debuted at Telluride, partnered with Focus Features domestically after being made in partnership with House Productions and Indian Paintbrush. Focus, coincidentally, handled international territories for “Anora.” This flexibility allows FilmNation to tailor each film’s journey based on its unique strengths.
“We try and make filmmakers feel fully supported,” Browning says. “Our production ethos is always to let the films guide the life they’re going to have rather than a predetermined orthodoxy about what we can and cannot do.”
FilmNation’s reputation as a trusted distributor partner has been key to its longevity. Focus Features chief Peter Kujawski, whose company partnered with FilmNation on “Conclave,” emphasized the deep-rooted relationship between the two companies.
“Our relationship with FilmNation goes all the way back to the beginning of FilmNation,” Kujawski says. “We come from the same place, in the same ethos of really putting the primacy of the filmmaker and the filmmaker’s vision first. Their entire team is built that way.”
Kujawski also met Basner on the very first day of his career when he was an assistant to Good Machine’s founder, James Schamus.
Beyond “Conclave,” Focus has worked with FilmNation on projects like “Promising Young Woman” (2020), which was nominated for best picture. Kujawski praised FilmNation’s “hyper-attentive level of servicing” in both production and marketing, saying that the company has a unique ability to “bring people into the fold rather than push them out.”
While FilmNation enjoys a historic Oscar season, the company isn’t resting on its laurels. Upcoming projects include “The Life of Chuck,” an adaptation of Stephen King’s novel starring Tom Hiddleston and directed by Mike Flanagan, which won the TIFF Audience Award. In addition, they’re handling “Alpha,” the highly anticipated follow-up from “Titane” director Julia Ducournau.
For Basner and his team, staying true to their instincts is the key to continued success. “We don’t have to prove ourselves to anyone but the filmmakers we work with,” he says. “It doesn’t matter if people don’t see what we see from the start — it’s our job to support that filmmaker and create an environment where they can achieve their unique vision.”
With two major contenders at the Oscars and a slate of promising films on the horizon, FilmNation remains one of Hollywood’s most vital indies. Whether “Anora” or “Conclave” takes home the ultimate prize on Oscar night, FilmNation will cheer them on.
No matter the outcome, FilmNation is here to stay.