From ‘Nanny’ to ‘Pearl,’ Variety’s 2023 Producers to Watch Spotlights Future Film Visionaries

“Birth/ Rebirth”

Mali Elfman became a producer almost by accident: after co-writing her first film, “Do Not Disturb,” as an acting vehicle for herself. The former entertainment journalist realized there were a few jobs on set she didn’t want after all — and others she did. “I was like, I don’t want to star in this,” Elfman tells Variety. “[But] it became, I don’t see anybody putting this together in a way that is cohesive and supportive to create an environment that I want to work in.”

Working early in her career under line producer Missy Stabile, Elfman learned how to take charge without being a tyrant. “Missy is maybe 5’2” on a tall day, and when she walks in a room, she’s taller than everybody else,” she says. “She’s just such a badass, and yet she was also so kind.” Elfman’s credits quickly expanded from short film, feature and TV producing to executive producing, eventually directing 2022’s “Next Exit.” Each of those challenges not only reinforced her passion for producing but
also taught her how to do the job better.

“We call it cradle to grave,” she says. “I read the script when it’s half a script, seeing it through, understanding their intentions, what we we’re trying to make, how I could be supportive of that. Because when everybody feels heard and respected, you can actually achieve the goal that you originally set out to do.”

On the heels of “Birth/Rebirth,” a 2023 Sundance darling she produced for writer-director Laura Moss set for release later this year, Elfman expects to camp out professionally in horror, a space where she’s not only flourished creatively but received a lot of love commercially. “Horror audiences support their films and their filmmakers, in a way that not a lot of other genres necessarily do.

“Empowering others to make films that I feel like actually make a difference is one of the most satisfying experiences that I think you can have.”

— Todd Gilchrist

“Fremont”

At Tisch School of the Arts, there’s no shortage of aspiring auteurs, but “being someone that knew so early I didn’t want to direct ended up being a positive for me,” says Fung of her time there.

That clarity helped illuminate a professional path. “I think producing is a really good fit for the way my brain works. I love being creative, I love problem-solving, but it’s a nice blend of both.”

Fung’s considerable skills are most recently on display in Babak Jalali’s “Fremont,” a stirring, observant character study that thrums with recognition of life’s commingled challenges and absurdity. Telling the story of an Afghan refugee (Anaita Wali Zada) trying to locate emotional equilibrium in the titular California city, the movie won over critics at Sundance and is presently circling a distribution deal. For Fung, the collaboration confirmed her instincts about seeking out directors with strong voices.

Born and raised in Sydney, Fung moved to New York City in 2007 for film school. Straight out of Tisch, she ended up working with Baz Luhrmann and Catherine Martin on “The Great Gatsby,” then stayed on with their company, Bazmark, for four years.

Fung left to make her feature debut as a producer when she teamed up with Nia DaCosta on the crime drama “Little Woods,” released by Neon. She followed that up with David Raboy’s psychological horror film “The Giant.”

“What I look for in films is stories that can resonate with a large audience on a very human level, but then [also] take people outside of their comfort zone in terms of exposing them to people or locations or societies that are seemingly different from their own,” says the now Brooklyn-based Fung, who’s developing a horror film with Ley Line Entertainment. “For me, I’m hoping that people are coming out feeling curious about something, or wanting to ask questions.”

— Brent Simon

“Shortcomings”

Hand’s latest film, graphic novel adaptation “Shortcomings,” directed by Randall Park, premiered at Sundance earlier this year. But the Picture Films producer didn’t follow a linear path to success. Armed with a business degree, she began by working in business affairs and consulting for financiers.

“Going out on my own was so scary and I’ll never forget the people that showed up for me and helped me get started — that was so humbling,” says Hand, who strives to build upon relationships with kindness and through collaborative efforts.

“Brittany Runs a Marathon” was her first big sale at Sundance with multiple offers and all-night negotiations. The deal finally tipped in favor of Amazon Studios to the tune of $14 million.

Later, working on “Passing” helped define Hand as a producer, not just in the industry but to herself. Financing for the film, which was adapted from Nella Larsen’s 1929 novel of the same name by Rebecca Hall, who also directed, was difficult to secure in a way that would let Hall make the film she envisioned.

“I had newborn twins and really needed to work,” says Hand of the challenge of turning down some of the early financing offers that weren’t the right fit creatively. “Doing it the way she wanted just took precedent over that. I think about that a lot when I’m making decisions. It was foundational to who I am as a producer and partner to my filmmakers.”

And, while “Passing” rightfully earned extensive claim, Hand notes that she gets the biggest reaction from both industry insiders and the general public when she mentions another of her titles: “Barb and Star Go to Vista Del Mar.”

While Hand expresses that her “heart will always be in independent film,” she envisions studio and TV projects in the future as well.

— Zoe Hewitt

“Dos Estaciones”

“Before realizing what a producer did, I was already learning how to do it,” says Gonçalves, who studied history and journalism at the U. of Missouri. His breakout success came with the doc “Killing Them Safely,” directed by Nick Berardini, which examined law enforcement’s use of the Taser.

Gonçalves began as a researcher on the team before transitioning into a producer role. When the film premiered at Tribeca in 2015 and was subsequently sold to IFC, it became a personal cornerstone of industry validation.

The producer, who divides his time between Mexico City and Los Angeles, followed up with projects including the low-budget but over-performing “Las Nubes” and “Caballerango” in collaboration with director Juan Pablo Gonzalez, who also helmed Gonçalves’ latest release “Dos Estaciones.” The film premiered to great acclaim at Sundance in 2022.

Gonçalves, in collaboration with Gonzalez as well as filmmakers Ilana Coleman and Bruna Haddad, formed Sin Sitio Cine, a production company focused on socially conscious projects which allow a multitude of diverse directors to tell their own stories.

Some upcoming projects include wrapping up a documentary with director Eddie Martinez, as well as production on two separate features with Jessica Kingdon and Davis Osit. He’s also working with Coleman on what he calls an “experimental odyssey on language” being shot on 16 mm film and is in development on several other productions as well.

“Making art is vulnerable and challenging, and one thing that I’ve learned to prioritize is setting expectations and managing conflict,” Gonçalves says. “Relationships are easy when things are going great, but how do we function when it’s not? I believe that embracing, preparing and proactively addressing the inherent and natural element of conflict … has led to a consistent thread of repeat collaborators.”

— Zoe Hewitt

“Eric LaRue”

For Hartman, Michael Shannon’s directorial debut, “Eric LaRue,” which tackles the aftermath of a school shooting, was an immediate yes. “It really struck an emotional chord with me I didn’t expect,” he says. “I thought it was additive to a dialogue that’s happening today.”

“Karl is a thoughtful and generous producer. He cared so deeply about our film, but never micro- managed,” says Shannon. “But his notes in post were spot on — he really righted the ship a few times. When you watch ‘Eric LaRue,’ his voice is definitely in the grain of the film, which I am grateful for.”

Hartman found that voice — and a community — on film crews. It just took a while. Raised by a mother and grandmother who had an interest in theater, he grew up thumbing through stacks of old Playbills in their basement. But Hartman went away to college still not viewing entertainment as a career path. “Movies were these things that were beamed from nowhere into my living room on a TV, or a theater,” he says. “It was all extremely abstract to me.”

After graduation, and a stint in the Peace Corps, Hartman finally took the plunge, pivoting to physical production. He connected with producer Declan Baldwin, now his business partner at Big Indie Pictures, where Hartman serves as managing partner, overseeing all day-to-day operations. Along the way, he served as production coordinator on titles including “Still Alice,” “Captain Fantastic,” “Manchester by the Sea” and “Landline.”

Hartman knows distribution is in an upended state but remains optimistic about the future. “My interest is in absolutely trying to make those independent movies that inspired me as I was growing up, and would put in my VCR and binge watch,” he says, rattling off a diverse list of auteurs, domestic, and international films. “I still believe that’s where really amazing storytelling exists, and most affects and impacts people.”

— Brent Simon

“Pearl”

A first-generation Angeleno, Manashil followed the advice of a Chapman University film school mentor, Harry Ufland (former agent to Martin Scorsese, Robert De Niro, Jodie Foster and others), to break into the business at an agency.

She started in the mail room at WME right out of college and less than three years later, she was an agent but was still looking for the kind of work that spoke to her.

“I always felt like the multi-hyphenate was in line with the conversations I’d want to have,” Manashil says. “Mostly because the traditional acting conversation is one that requires waiting on the business to allow the opportunity, and then you have to be the one of one selected.”

This idea led her to represent multi-hyphenate Scott Mescudi, the rapper-actor-writer-record producer known professionally as Kid Cudi.

“I was at the point of my career where I was looking for my work soulmate and we just found each other,” she says. “He was allowing me the kind of freedom to create alongside him and put the pitches together alongside him, do the deals alongside him, and actually be the responsible party for it.”

Along with Mescudi and his manager Dennis Cummings, Manashil launched Mad Solar Prods. in 2020, where she serves as president. Projects from Mad Solar included the SXSW breakout “X” and “Pearl” (both directed by Ti West) and the Netflix ani- mated series “Entergalactic.”

Quicker to direct attention to her collaborators than to herself, Manashil is excited about what Mad Solar can generate, both for audiences and for the company.

“The feeling that we’re chasing is this opportunity, by virtue of the company that we’ve built, of taking a nascent idea and through all of the hands that it touches, it becomes something bigger than imagination,” Manashil says.

— Paul Plunkett

“Nanny”

Moulterie has a clear sense of what sparked her passion for cinema: her very first job was at New York’s fabled Walter Reade Theater, across the street from her high school (the similarly storied LaGuardia High School of “Fame” renown). “I just fell in love with it from watching movies at this theater,” Moulterie says. “From 16 to 29, I held onto this job!”

She began her journey toward producing working her way up the ladder in physical production, where she quickly recognized who held ultimate authority. “The director’s really important and they’re a driving force, but there’s one person that’s really pulling the strings and is orchestrating it all,” she says. “I realized ultimately the job that I wanted was to produce.”

Moulterie honed her skills as a line producer. “People love to say that is not creative,” she says. “Let me tell you something: when you have no money, or even when you do have all the money, that’s driving the creative conversations, and a good line producer’s going to help you figure out how to realize whatever that world is.”

She found early breakthrough projects like the TV series “Random Acts of Flyness” and the short “Suicide by Sunlight,” which first paired her with filmmaker Nikyatu Jusu and led them to collaborate on the horror film “Nanny.” After a challenging production, the film emerged as a festival darling. “Getting this made was not easy — it was definitely a journey,” she says, taking pride in “knowing that I was able to and successfully chose the right people for the project, and it’s had the life it’s had because of that. It’s not any one person, it’s the community.”

Now she’s focused on original material. “I’m still very much interested in producing the stories I’ve always yearned for and longed for,” she says. “Because one thing I am for sure is an avid and excited audiencegoer. I love movies, and so for me, it really will always start there.”

— Scott Huver

“Chang Can Dunk”

As CEO of multimedia production company Hillman Grad, Rajani does more than simply produce films. Working with company founder Lena Waithe, projects on his plate go beyond film and television to include music (a record label with Def Jam), publishing, podcasting, branded content, fashion and more.

“It’s so much of what the ethos of what Hillman grad is,” Rajani says. “Empowering artists from disenfranchised and underrepre- sented backgrounds, that’s everything we do over here.”

Born in the U.K., Rajani moved to the states with his family when he was 3, living in Watertown, N.Y., just shy of the Canadian border.

“I really credit my mom and dad for making sure that myself and my sisters had exposure to the arts growing up,” he says, recalling trips to Montreal to see theatre, ballet and visit the library. “Storytelling was my escape, it was an incredibly important aspect of my upbringing.”

He went to NYU intending to become an investment banker but following a one-day stint at Goldman Sachs, he knew that wasn’t his path. After numerous jobs, he made his way to Los Angeles, where he started in the mail room at UTA and worked his way up the ladder, including stops at Paradigm and Studio 8 before finding his home at Hillman Grad.

Current projects include writer-director Jingyi Shao’s “Chang Can Dunk” (on Disney+ this month), the upcoming documentary “Being Mary Tyler Moore,” “A Thousand and One” starring Teyana Taylor, the podcast series “Kym,” the Black trans documentary “Kokomo City,” and more.

“When I grew up reading books, I didn’t imagine that those characters looked like me,” Rajani says. “If there’s anything that I can do with my life and career, it’s to make sure that the next generation doesn’t feel that way, the next generation actually gets to see themselves.”

— Paul Plunkett

“Righteous Thieves”

In June 2020, Rodriguez decided to leave her job of 10 years at Sony Screen Gems, based on a mere 20 minute conversation with Reuben Islas, CEO and owner of Grandave Capital. He enticed her to run his production company, Broken English Prods. “That moment and decision propelled my career,” recalls Rodriguez, a self-identifying risk taker. “Two weeks later I was on set producing my first movie.”

Now, with “Righteous Thieves” in theaters, Rodriguez sees herself hitting new levels of success. With the premiere of director Anthony Nardolillo’s action thriller, Rodriguez continues to fulfill her original mission of producing films by, and starring, members of the Latino community.

Rodriguez honed her skills at Sony, where she started as an intern. Recognizing this is a business of networking, she worked tirelessly to schedule meetings and dinners even when she didn’t have specific projects on her plate. Those connections paid off. “I think working hard, taking the initiative and making sacrifices led me to where I am today,” says Rodriguez, who adds that it’s important to be proactive.

During her decade with Sony, she cultivated experience in everything from development through post-production and marketing, which have turned into the building blocks of her achievements at Broken English Prods., where she was recently promoted to CEO. Upcoming projects including a holiday movie and several television shows.

And, following her passion, Rodriguez makes it a point to not only work with Latino actors and crew, but to discover, nurture and mentor them from her position of power as well. “I want to continue to create space for emerging underrepresented talent and establish a pipeline to the studios,” says Rodriguez. “We are valuable — it’s just a matter of taking the calculated risks and proving it.”

— Zoe Hewitt

“Karmalink”

Steinberg came to producing by way of a different creative ambition. “My freshman year, someone had the audacity to cast me as Dr. Frank-N-Furter, the Tim Curry character, in ‘The Rocky Horror Picture Show.’ But the show didn’t go on,” she tells Variety. “So my senior year I decided to do it and take it all the way to the extreme and do it all female.

“I directed it [as well], but I didn’t even know what I was doing,” Steinberg admits. “I just knew I had to get it done.”

After graduation, Steinberg worked in London for theater producer Sonia Friedman before entering the independent film industry, armed with lessons culled from Christine Vachon’s “Shooting to Kill.” She’s since worked on shorts by Nuotama Bodomo (“Afronauts”), Laura Moss (“Fry Day”) and Mariama Diallo (2018 Sundance winner “Hair Wolf ”) before serving as creative lead producer on Jake Wachtel’s “Karmalink,” and executive producing Elegance Bratton’s “The Inspection.”

In building her career, Steinberg has sought to collect as much experience as possible in order to tackle challenges both predictable and unexpected, from the beginning of the filmmaking process to the end.

“I view it as my responsibility to be the key driver of a project,” Steinberg says. “I don’t take it for granted that anything is going to happen unless I’m the one doing it or making sure it gets done. So that involves bringing together each member of the creative team on the most granular level, as well as the big-picture strategy.”

With some “early-stage television stuff ” and six or seven feature films including Ruben Amar’s “Silver Star” in the works, Steinberg says she hopes to pursue both “artistic, risky projects” and bigger movies in the future. “I want to make movies that can reach a huge audience.

“I’m at the level where I’m doing it because I love the project, but I’m also excited about the education of it,” Steinberg says. “There’s endless things to learn.”

— Todd Gilchrist