Any independent filmmaker will tell you that getting a movie financed, produced and released is akin to summiting a mountain. Rockslides, however, are less common.

Brady Corbet had to brace for one nonetheless, to complete his ambitious and impressively inexpensive “The Brutalist” — a three-hour-and-change epic made for a measly $10 million. The expansive story of a Hungarian architect and his haughty patron required Corbet and team to shoot in the marble quarries of northern Tuscany — where rockslides constantly shift the landscape.

“Mother Nature is pissed,” Corbet exclaims to his friend Sean Baker, the writer-director of this year’s Palme d’Or winner “Anora.” Baker is used to outsmarting forces of nature to deliver his microbudget indies to the world. For “Anora,” the tale of a hopeful sex worker’s unhinged affair with the son of a Russian oligarch, he found himself “making, borrowing and stealing” whatever he could to get the project across the finish line.