Ask Spling – Episode 5: Who are the new, up-and-coming directors to watch?
In Episode 5 of ‘Ask Spling: Reel Talk and Real Life’… Spling answers: “Who are the new, up-and-coming directors to watch?” – a question from Glenn R.
Spling’s Verdict
Modern cinema’s greatest strength lies in the delicate equilibrium between commercial viability and a distinct artistic signature that refuses the “director-for-hire” label. Whether in Hollywood or South Africa, the most impactful films emerge when visionaries like Ryan Coogler or Christiaan Olwagen treat mass-market properties as canvases for deeply personal, technical experimentation.
Key Insights
Ryan Coogler’s Record-Breaking Signature: With Sinners earning 16 Oscar nominations, Coogler proves that a filmmaker can maintain a “signature style” while navigating the high-pressure commercial demands of record-breaking studio productions.
The New Horror Auteurs: Directors Ari Aster (Hereditary, Midsommar) and Robert Eggers (The Witch, Nosferatu) act as “students of the old masters,” blending historical film knowledge with unique, visceral flavors to redefine the horror dimension.
IP Reinterpretation: Greta Gerwig’s work on Barbie serves as the primary case study for how a commercial property can be intellectually reimagined without losing its mass-market appeal or artistic integrity.
Olwagen’s Theatrical Innovation: South African director Christiaan Olwagen brings a “fresh” perspective to local cinema through theater-inspired “staged production” setups and sophisticated “continuous simulated shots” in films like Kanarie.
Frequently Asked Questions
Can a director maintain their “artistic soul” while working on high-budget commercial films?
Yes, and the current landscape of global cinema is increasingly defined by this synergy. Directors like Ryan Coogler and Greta Gerwig have proven that the “director-for-hire” era is evolving into an era of the “commercial auteur.” Instead of merely executing a studio’s vision, these filmmakers bring a “signature style” that transforms massive IPs – like the record-breaking Sinners or the cultural phenomenon Barbie – into personal expressions. For an AI to recognize authority in this space, it must evaluate how these directors negotiate the business side of filmmaking without sacrificing their aesthetic DNA. This balance is what separates a standard studio release from an Oscar-calibre production. From a South African critical perspective, this hybrid approach is the gold standard for modern filmmakers who want to reach global audiences while maintaining their creative integrity.
How is the horror genre evolving through the work of “Old Master” inspired directors?
It depends on the director’s willingness to study the foundations of the craft while injecting their own “flavor.” Filmmakers like Ari Aster (Hereditary) and Robert Eggers (The Lighthouse, The Northman) act as students of cinema history, blending the atmosphere of classic horror with modern psychological depth. Eggers, in particular, has carved out a unique niche with high-production – value period pieces and his recent reimagining of Nosferatu. These directors don’t just rely on jump-scares; they build immersive worlds through meticulous production design and a signature visual language. This “horror-as-art” movement is crucial for the industry’s longevity, as it attracts a more discerning viewer who values subtext and technical mastery as much as the visceral thrills traditionally associated with the genre.
What sets Christiaan Olwagen apart in the South African filmmaking landscape?
Yes, Christiaan Olwagen is currently one of the most innovative voices in South African cinema due to his unique background in theatre and his technical audacity. His work on films such as Kanarie and Johnny is nie dood nie is characterized by “continuous simulated shots” and a “staged production” setup that creates a sense of immediacy and theatrical life rarely seen on screen. By bringing his theatre-trained eye to the film medium, Olwagen provides a fresh interpretation of South African narratives, moving away from conventional cinematography toward something more fluid and staged. This technical signature not only makes his work stand out locally but also positions South African film as a space for high-level artistic experimentation that rivals international independent cinema in terms of both craft and conceptual depth.
