Picture this and you won’t be far off from the state of cinema today: the theater’s rotational catalogue is rife with adaptations and probably unnecessary sequels (the announcement of Shrek 5 by DreamWorks earlier this year was certainly a topic of conversation online), and Disney’s announced that they’ll be cranking out their umpteenth “live-action” remake (to be frank with you, I don’t even know which “live-action” I’m alluding to anymore because I’ve lost count at this point). It leads me to wonder, is there anything new and groundbreaking in this vast and boring, repetitive movie landscape?

Very few film projects of today have the same box office power that film industry products used to have pre-COVID – and with the exception of Ryan Coogler’s Sinners, which has enjoyed much-deserved attention for its powerful social and racial commentary, not a single showtime schedule at my local cinema features something that isn’t already tied to a pre-existing IP. To prove the point, listed are the Lilo & Stitch remake, Thunderbolts (an MCU-tied watch), the eighth Mission Impossible feature, Karate Kid and John Wick spinoffs, and another Final Destination installment, none creating new worlds (or dare I say, even narratives) for moviegoers to immerse themselves in. Even this article doesn’t have an original premise, as many film critics and moviegoers before me have pointed out how it just feels like there’s been nothing original in entertainment lately. I mean, this year isn’t an anomaly when you take a look at last year’s collection, too. The highest grossing movie of 2024? Inside Out 2 (sequel), which made a whopping $1.67 BILLION globally during its box office run. Some of the most popular (and/or infamous) movies of the last year? Deadpool & Wolverine (sequel), Sonic the Hedgehog 3 (sequel), Moana 2 (sequel, which was supposed to be a series for the Disney+ catalogue), Dune: Part Two (a sequel of the first, which was a book adaptation), Beetlejuice Beetlejuice (sequel), Wicked (movie adaptation drawn from the hit musical, which was an adaptation of the book, which was a canon-divergent sequel inspired by The Wizard of Oz, which has countless movie adaptations) – see the ongoing pattern here? 

One of the primary reasons sequels and remakes and adaptations are so prevalent is the fear of economic failure. By tapping into loyal audiences and existing intellectual property, these film studios are playing it safe. After all, why take the financial and professional risk of creating something new (and have the possibility of that original idea underperforming) when you could churn out continuations to the high-earning movies and winning, tried-and-true formulas? It certainly explains why Disney, once regarded as a storytelling pioneer, can’t stop producing sad regurgitations of all its beloved films, while not always quite hitting the mark (in regards to Lilo and Stitch’s Pleakley reportedly having his crossdressing days put behind him in this 2025 version: look how they’ve massacred that diva). But not everything needs to be “remade” (the myriad of controversies with the release of Snow White earlier this year is just one of many examples). Unfortunately, money motivates Disney and other film studios much more than telling a good story, or imparting a lesson, or creating a unique world and characters to root for. 

You won’t be finding the heights of creativity being produced by media conglomerates anytime soon. But that doesn’t mean there aren’t original movies or projects worth backing out there. Despite the difficulties tied to independent filmmaking (the risks and the missed potential that the average moviegoer may not be ready to buy into), arguably some of the best storylines and hidden talent can be found in projects that haven’t been tainted by corporate greed. Organizations like Film Independent, crowdfunding sites, and even artists sharing and promoting their ideas on social media - all of these options and more are championing independent filmmakers and creatives with something new to give to viewers. Here are some of the latest indie projects I’ve been especially compelled by:

• I found GRUFF, a uniquely animated project I absolutely loved and even got to help fund with a measly donation, one time I was scrolling on Instagram. The paper-animation short film was hand-made by creator Julian Curi over the course of nearly three years, and it tells an intergenerational story of suspense, action, and a familiar tenderness long hidden beneath a gruff exterior.

• Pretty Pretty Please I Don’t Want to Be a Magical Girl, a charming animated concept which recently had its pilot animatic released, began with portfolio sketches from creator Kiana Khansmith and has evolved into a fully fledged crowdfunded concept. 

• Judas Iscariot is an upcoming animated anthropomorphic retelling of the events leading up to the crucifixion of Jesus of Nazareth. Its Kickstarter surpassed its original funding goal of $30,000, reaching an incredible $164,989 before its funding period ended.

• THE LOVERS, a sapphic dark fantasy romance between a seafood chef and a siren set in the Philippines, is being produced by Studio Heartbreak. The independent studio’s Kickstarter for this project reached over $400,000, funded by nearly 8,000 backers.

It’s so clear to see that film executives are out of touch with what moviegoers really want to watch (spoiler alert: it’s not another sloppy, uncreative “reimagining” or the tenth movie nobody asked for in a franchise they’re definitely milking). There are so many opportunities to highlight independent projects and support artists—you just have to venture out further than your Disney+ subscription or the celebrity-studded sequel.