Indie’s unique ability to capture and depict a closer representation of reality is why it’s the perfect place to “offer space” for alternative social, political, and/or ideological perspectives. The characters in Indie films are not constrained by majors’ constituents and they are not driven on appealing to the masses. Indie characters possess the ability to organically exist; they are not written into a film to be liked or disliked, but rather to depict a perspective that is a true portrayal of someone’s life. Indie possesses the ability to account on all realities of life so it makes sense that alternative social, political, and/or ideological perspectives are so entwined with Indie cinema.
Though Indie cinema is able to cover alternative perspectives, it still is limited from becoming a fully radical cinema. Unless a film finds a way to connect to the audience, whether through a mean of normalcy or controversy, a niche audience cannot be established and if it does not have a niche audience large enough to sustain production then it is unable to thrive or be successful in any cinema economy.
King mentions the movie Happiness and how it is a controversial subject matter, but there is a reason this radical subject matter is successful- it does not appeal to a radically extreme niche. The niche audience is not pedophiles, but rather a niche audience who find the controversy or portrayal of pedophiles interesting. For if the movie pertained to only pedophiles, an extremely radical social group niche, the niche would not be large enough to sustain this subject matter.