Julia Oh

Julia Oh’s career is basically a highlight reel of bold, unforgettable cinema. She’s got her fingerprints all over films that don’t just flirt with the edge—they swan dive right over it. Take “Babygirl” (2024), for example. That movie doesn’t play it safe. It’s raw, punchy, and refuses to sugarcoat anything, following complicated characters through messy, real, and sometimes downright uncomfortable situations. You watch it, and you’re left thinking about your own choices long after the credits roll. Not a lot of films pull that off. Then there’s “American Honey” (2016)—an absolute fever dream of a road trip. Julia Oh had a hand in producing this wild ride across the American Midwest, all seen through the eyes of youth desperate for freedom and connection. It’s gritty, intimate, and honestly, sometimes feels like you’re eavesdropping on real life. The way the film jumps from chaos to quiet, joy to heartbreak, totally nails that lost, restless energy of growing up without a map. And let’s not forget “Titane” (2021). This one’s a trip—like, strap-in-and-hold-on kind of weird. Body horror, identity, love, violence, the whole shebang. It’s the kind of movie that splits audiences, makes people argue, and gets folks thinking about what the heck they just watched. Julia Oh clearly isn’t afraid to back projects that go against the grain. So, looking at her filmography, it’s pretty clear she’s got guts. She gravitates toward stories that surprise, challenge, and sometimes flat-out shock people. Not your average producer—she likes it messy, real, and unforgettable.