Recently, a significant report began circulating online regarding the production of Anora, the film that has recently won an Oscar. This information originated from Crew Stories, a well-known Facebook group dedicated to below-the-line film and TV industry workers. The report details troubling events that unfolded when the crew of Anora opted to unionize late in the film's production process.
According to a screenshot shared on the official Crew Stories Instagram, director Sean Baker was accused of having a “hissy fit” in response to what is commonly referred to as a “union flip.” This term describes the situation where a non-union production transitions to union status mid-shoot. The post alleges that Baker engaged in misconduct, including “screwing over his crew and lying to their representatives.” The claims are supported by remarks from “multiple crew members” from the production, although none of them were named.
The Hollywood Reporter (THR) has since conducted an investigation into these claims, interviewing several anonymous crew members to shed light on the working conditions during the filming of Anora. Their findings portray the situation as more routine than sensational. The basic facts surrounding the shoot were confirmed: Baker was covered under the Director’s Guild, while the film’s performers were members of SAG-AFTRA. However, the production operated for most of its shooting schedule without a contract with the International Alliance Of Theatrical Stage Employees (IATSE), the union that represents the majority of below-the-line workers on film sets.
Just a few days before the two-month shoot was set to conclude, IATSE Local 52 was notified of the crew's desire to unionize. In a decisive move, the crew voted in an “overwhelming majority” to form a union. During this process, a brief strike occurred while negotiations were underway. Baker later addressed the crew in a huddle, expressing his happiness about the unionization. According to an unnamed crew member, he was “almost crying, not sobbing, but certainly beyond misty,” and soon after, the crew returned to complete the film.
The central question raised by this incident revolves around the normalcy of such events in the context of a $6 million indie film like Anora, which has achieved remarkable success against larger productions at the Oscars. The THR report indicates that indie films operating at a budget similar to Anora often attempt to navigate production without union involvement, primarily for cost-saving reasons and the perceived operational flexibility it offers. This flexibility allows them to bypass certain regulations regarding crew presence and hours, a concern that Baker has previously voiced while exploring more “guerilla-style” filming techniques in his earlier work, The Florida Project.
It is anticipated that IATSE will become increasingly aware of such production plans, prompting many productions to allocate funds specifically to manage costs associated with a union flip. Interestingly, the THR report notes that wages for the crew on Anora adhered to union standards both before and after the unionization occurred. However, working on non-union productions means that IATSE members do not accumulate hours towards their minimums required for health coverage under the union’s plan.
This situation raises important questions about labor practices in the film industry and the ongoing struggle for union representation among below-the-line workers. As the landscape of indie filmmaking continues to evolve, the implications of this incident will likely resonate throughout the industry, influencing future productions and unionization efforts.
