[3] However, she eventually found that the Los Angeles theater scene was "not very vivid" and decided to focus on other fields, overseeing underground record labels and creating house music.
[5] Kramer began creating her debut film Paris Window, co-written with screenwriter Noel David Taylor, in 2017.
[9] Co-written with screenwriter Benjamin Shearn, Ladyworld follows a group of teenage girls who, during a sleepover, become trapped in a basement after an earthquake.
On July 29, 2019, four days before the theatrical release of Ladyworld, Talkhouse published an essay of Kramer's entitled "Why Does Everything Look So Fucking Ugly?
[14] In November 2019, Ethan Warren, a frequent contributor to the film essay website Bright Wall/Dark Room, named Kramer as a director who will define the 2020s in a piece for IndieWire.
[17] Starring Andrea Riseborough, Harry Melling, Karl Glusman, and Demi Moore, the film follows a married couple who begin to question their relationship, as well as their own conceptions of gender identity, upon witnessing a murder committed by a group of greasers.
[19] Starring Sophie von Haselberg, the film parodies variety television specials of the 1970s and 80s as it follows a fictional diva's descent into doubt and self-loathing.
She has described the fear of rape as a core thematic component of Ladyworld, which features a disembodied male character whose presence causes unrest among a group of teenage girls trapped in a basement.
[1][8] She has stated that she was drawn to making Please Baby Please in order to challenge the heteronormativity perpetuated in 1950s popular culture, as well as to draw attention to the underground subcultures present during that era.
"[29] She has expressed admiration for actors such as Gena Rowlands, Faye Dunaway, Elizabeth Taylor, and Geneviève Bujold, due to the "ever-operatic, highly created, arch character embodiments" they portray.
[5][33] Despite the prominence of women's stories in her work, Kramer has expressed reluctance to identify as a feminist, in part because she feels the word has been co-opted to the point of having several different meanings.
[1] Additionally, though all of her narrative features are written as screenplays, many of her works resemble stage plays, due to their heavy amount of dialogue and spare set dressing.
"[1] Kramer does not conduct formal auditions, instead preferring to become acquainted with an actor's personality, as well as their willingness to take risks, before determining whether they are right for a role.