My thoughts are:
From what I came to know as "Indie," or at least, when, none of these films would have been on the list. Sure, now SPC, Warner Independent, Fox Searchlight, etc. are considered "Independent" level production companies, despite being associated with major studios.
The terms keep changing. What I knew as Independent is now Micro-budget, if you could even call it that. Exhausted examples from the '90s of "Indie" go from pushing it the budget, Reservoir Dogs to (what budget?) El Mariachi.
It's hard for me to wrap my grey matter around an "Indie" studio as being Independent. Since, well, there's hardly anything Independent about it.

I digress.

I realize I have a heartfelt stance on the matter and didn't quite answer the question... per se.
Most of these pictures, have relative recognizable talent attached. The stories are solid and marketable, thus these Indie studios like them. For the budgets they are using, they are earning, and then some.
So, for the average aspiring writer, it says two important things: one, that your work will still need to reflect the marketability that is needed for a major studio. And two, should you disregard that, or prefer to go another path, you are still stuck in the same cost/pay bracket of like work, like talent of the nineties that saw the same label "indie."
Note how half of the films noted are brought to you by experienced filmmakers and writers.

Most of these are indie in name only. They either star, are helmed by, and/or have significant backing from well-established Hollywood a-listers.

My first impression? That half of these (2, 3, 6, 8, 9, 12, 13, 14, 19, 20) could have been made for half a million or less. Not were, of course, but could have been - and I wonder if their box office would have suffered greatly if they had been.

Wow, I had no idea Juno was that successful. I'm quite surprised actually. My fave from that list is Lost In Translation.

It's clear that, no matter where the initial money comes from, distribution of feature films is still controlled by heavy hitters. I know people (myself included) have been saying the Internet is the great equalizer of every media, but when it comes to feature length films, I really wonder if it will change.

I'd rather watch real-time continental drift than Lost In Translation once more.

I think some of the cheapest films are also the best. maybe you can talk a little about writing screenplays that actually fit the average man's wallet. by that I mean budgets that are less than maybe 10 or 20 grand. i feel writers don't focus much on the business end and usually end up disappointed

'Lost in translation' - all time fav.