Killer Films Celebrated at Metrograph as Co-Founders Reflect on 30 Years of Indie Filmmaking

It’s time to celebrate Killer Films, a cornerstone of independent cinema, as New York’s Metrograph theater honors the iconic production company with a curated retrospective. Founded by Christine Vachon and Pamela Koffler, Killer Films has been a model of creative longevity, boasting nearly 150 film credits since launching with Cindy Sherman’s “Office Killer” in 1997. Their most recent hit, Celine Song’s “Materialists” (2025), continues that tradition of daring, emotionally intelligent storytelling.

The Killer Films showcase includes standout titles like “I’m Not There,” “Office Killer,” “One Hour Photo,” “Far From Heaven,” “Zola,” “Happiness,” and “Hedwig and the Angry Inch”, plus a surprise screening. The founders will attend selected showtimes and recently spoke with Deadline about their journey, the evolving indie landscape, and what keeps them going.

“We chose films that were meaningful to us and reflected key milestones,” said Vachon. “Some were first features, some were made with studios, others were purely independent.” The selection reflects decades of change in how indie films are made, funded, and distributed.

Before Killer Films even had a name, Vachon and Koffler collaborated on films like “Kids” (1995), “Stonewall” (1995), and “I Shot Andy Warhol” (1996). These early successes provided financial stability and opened the door to long-term planning and development. But their guiding principle remains unchanged: know your audience, tell the story the best way you can, and do it within budget.

“We listen to the market,” Koffler added. “If we say a movie should cost $8 million, and the market comes back with $4 million, we either find a way to make it for four or don’t make it at all.”

Despite their track record, indie production today is more challenging than ever. Vachon pointed out that costs have ballooned, while funding sources have shrunk. “It affects the kinds of stories you can tell,” she said. Still, she emphasized adaptability: “We’ve stuck around because we evolved. Storytelling is more accessible now — people can shoot on iPhones. The world has changed, and we change with it.”

Reflecting on the freedom of 1990s indie film, Vachon mentioned projects like “Happiness”, where casting Philip Seymour Hoffman before he became a star was possible. “There was more room for risk,” she noted. “But it’s not about saying the past was better — it’s about facing the now.”

Koffler addressed how viewing habits have shifted:
“If a movie is in theaters for just two or three weeks before going to streaming, people wait. The urgency fades unless you’re a hardcore opening-weekend fan.”

As for New York’s new film tax credits passed in April, Vachon is cautiously optimistic. “They say it will pay out faster. If true, that’s huge. But we haven’t seen it in action yet.” She also acknowledged that while California and other states are rolling out new incentives, overseas production remains more cost-effective — though not always creatively suitable.

Vachon praised the success of “Materialists”, which continues to draw diverse audiences in theaters. “It wasn’t just young people. I walked through a few screenings and saw a real mix.” Up next: “Late Fame” by Kent Jones, premiering at the Venice Film Festival.

Upcoming Indie Releases to Watch:

• “Souleymane’s Story” by Boris Lojkine (Kino Lorber) — Cannes Un Certain Regard Jury Prize winner

• “Harvest” by Athina Rachel Tsangari (Mubi) — Venice 2024 entry

• “Architecton” by Victor Kossakovsky (A24) — Berlin-premiering documentary

• “The Sparrow in the Chimney” by Ramon Zücher (Film Movement)

• “CatVideoFest” by Will Braden (Oscilloscope) — beloved annual summer event