![]() Most of these get shuffled off to DirecTV before their uncoolness can sully the brand, so you probably haven’t seen them.īut I have - because I’ve seen every A24 movie. Both types are integral to the A24 experience the real black sheep in its filmography are the anonymous ones, movies like Woman Walks Ahead or The Adderall Diaries, which bear no authorial stamp, inspire no contrarian cults. The studio allows directors to follow their muse wherever it takes them, a strategy that leads to enduring masterpieces and self-indulgent misfires. What unites A24’s hundred-plus films is that, good or bad, most of them feel as though they couldn’t have been released by anyone else. Going forward, the studo would develop talents in house, creating a stable of “ A24 boys” including Ari Aster, Robert Eggers, the Safdie brothers, and the Daniels. ![]() Barry Jenkins’s Moonlight, a surprise Best Picture winner and the first film A24 co-produced, marked the start of a new era. ![]() Amid that initial blush of success, the company established sidelines in brainy European sci-fi ( Under the Skin, Ex Machina, The Lobster) and unhurried horror ( The Witch, It Comes at Night, Saint Maud). The fact that, over its ten years of existence, A24 has been able to build one of the strongest brands in the industry is as much a feat of curation as it is of artistic production.Ĭase in point: The studio’s first hit, 2013’s Spring Breakers, a film it didn’t make but which now feels like the skeleton key for what would become its house style - hypersaturated cinematography, young people behaving badly, zero fucks given - and a guiding light for films as diverse as The Bling Ring, American Honey, Good Time, The Florida Project, Mid90s, Waves, and Zola. And though the films it has produced since then include many of its best and most famous projects - Moonlight, Hereditary, Uncut Gems - those still make up a relatively small portion of the company’s total output. This distinction is all the more remarkable when you consider that until 2016, A24 was merely a distributor that didn’t have a hand in any of the titles it released. The studio doesn’t just make a “high-school movie,” it makes a “Catholic school in Sacramento in the spring of 2003 movie.” An A24 movie is auteur driven and visually stunning with an offbeat sense of humor and a setting or perspective you’ve never seen before. It’s a marker of quality, but more than that, it’s a promise of a certain singularity. Normal, everyday people take pains to call a movie “an A24 film,” while only a Variety reporter says something is “a Sony film” or a “Searchlight release.” Why? Because for movie fans, the indie studio’s badge means something. A new verbal tic has taken over cinephile circles.
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