Since it was founded over a decade ago, several A24 Movies have received nominations and won Academy Awards multiple times. Founded on August 20, 2012, by Daniel Katz, David Fenkel, and John Hodges, A24 has become a powerhouse in producing independent films and as a distribution company. As an independent entertainment company, A24 has provided the platform for several independent screenwriters and directors. A24 has stood out, not just because it’s a worthy rival to major studios, but because of the quality of films produced and distributed. To help clarify the misconception about A24 and its films, A24 does not
The post Oscars: 8 A24 Movies That Won An Academy Awards first appeared on TVovermind.
The post Oscars: 8 A24 Movies That Won An Academy Awards first appeared on TVovermind.
- 3/22/2024
- by Onyinye Izundu
- TVovermind.com
Greta Gerwig tells me there’s “no resistance” from her about the possibility of Barbie 2.
The challenge for her she says, is how to tackle a follow-up movie. Initially, the filmmaker wasn’t “feeling” the idea of a sequel, but now she’s warm to such a situation. “I’m not dismissing it, I want to do it,” she says, but there’s a heck of a lot to discuss first with Mattel, Margot Robbie, Warner Bros Discovery, producer David Heyman and all of her creative collaborators.
Related: Oscars Events And Parties Photos: Apple and Universal Pictures Afterparties, Elton John Viewing Party, Governors Ball & More
Also, there’s rather a lot on her plate as she puts the architecture in place to shoot Narnia for Netflix, and Gerwig revealed that she’ll return to London to soon resume the very early stages of pre-production in the UK.
Related: Vanity Fair...
The challenge for her she says, is how to tackle a follow-up movie. Initially, the filmmaker wasn’t “feeling” the idea of a sequel, but now she’s warm to such a situation. “I’m not dismissing it, I want to do it,” she says, but there’s a heck of a lot to discuss first with Mattel, Margot Robbie, Warner Bros Discovery, producer David Heyman and all of her creative collaborators.
Related: Oscars Events And Parties Photos: Apple and Universal Pictures Afterparties, Elton John Viewing Party, Governors Ball & More
Also, there’s rather a lot on her plate as she puts the architecture in place to shoot Narnia for Netflix, and Gerwig revealed that she’ll return to London to soon resume the very early stages of pre-production in the UK.
Related: Vanity Fair...
- 3/11/2024
- by Baz Bamigboye
- Deadline Film + TV
A quick perusal of the reviews indicated TV critics weren’t turned on by what they saw in CBS’ new incarnation of the Golden Globes. Host Jo Koy in particular took some heavy criticism for a generally unfunny and unsuccessful turn in a performance hovering around Ricky Gervais-insult level material but never really getting there. I can’t really speak to how things looked on the tube, but I can say it was fun in the room, and the results as they count in the race towards Oscar can only be considered as extremely significant, a collection of winners without a single embarrassment among them. That alone is a triumph considering the history.
And as for the return of the Globes themselves, it felt like I was in some kind of time machine thrust back to 2018 that had taken me back to a Globes show where the audience is constantly mingling and talking amongst themselves, where nobody really takes any of it seriously, and where it was still a good time — something actually living up to the claim of being “Hollywood’s party of the year.”
Related: Golden Globes Photos: The Best Looks From The Red Carpet
I was barred from the Beverly Hilton Ballroom Globes ceremony last year for reasons only they know (so were most of my fellow pundits), but we were welcomed back this year and I have to say it was a throwback to a Golden Globes that, while rocky at times and searching for its true identity in terms of the season, was a welcome cog in the wheel of this crazy race to Oscar, one with a genuine screwy past that 81 years in still seems oddly necessary.
Related: Golden Globes TV Review: Taylor Swift, Kevin Costner & “White People Roles” Help Ceremony Pick Up The Pace After Stumbling Start
The ‘Poor Things’ team on Sunday
Universal certainly seems to think so. Executives and stars and filmmakers of their phenomenal hit Oppenheimer, the night’s big winner with five Globes including Best Motion Picture – Drama, were partying well into the night at Tommys in Beverly Hills. The studio has been a consistent favorite with the Globes having won in the recent past several times including Green Book, 1917, The Fabelmans and more that have taken a Best Picture prize. Now with Oppenheimer it is back in the game in a big way, although one that is not terribly unexpected. Oppenheimer has been relatively quiet on the awards circuit thus far, but the Globes victories have pushed it into the stratosphere, with a quick follow-up expected next weekend for the film, which is full of nominations from the Critics Choice Awards. In between, we have the SAG nominations being announced Wednesday and a Cast nomination would be a clear sign it is all smooth sailing until the Oscars. Universal’s Focus Features specialty division also picked up a couple of well-deserved wins for The Holdovers’ Paul Giamatti and Da’Vine Joy Randolph (the latter on a clear path to Oscar this season).
Related: Golden Globes Scorecards: Wins By Movie, TV Show, Distributor & Network
Favorites like Maestro, Killers of the Flower Moon, and Barbie (perhaps too pink for its own good won only Best Song and for its Boxoffice success) disappointed, clearing the way for Oppenheimer to cement its frontrunner status in the next couple of weeks. Perhaps the movie to look out for as competition, at least by the evidence of its Gg wins, is Poor Things, which took Best Picture Comedy/Musical and Actress Comedy/Musical for its star Emma Stone. Competitors can take heart though that neither Globe Best Picture winners last year – The Fabelmans and The Banshees of Inisherin – went on to any Oscar wins.
(L-r) Greta Gerwig and Margot Robbie win the Cinematic and Box Office Achievement for ‘Barbie’
Dependable Oscar precursor or not, the Globes, in other words, looks poised to regain its place in the season’s pecking order. I found no one really focused on its past scandals Sunday night, but rather in high spirits talking about anything but the transgressions that led to a virtual boycott and dismissal of what, until then, had always been a key stop on the circuit, and one importantly with a decades-long Hollywood tradition. On Sunday instead, Sony chairman Tom Rothman was talking to us about the phenomenal holds their rom-com Anyone But You was experiencing, and A24’s David Fenkel was touting a similar growing success for its drama The Iron Claw. Searchlight’s Matthew Greenfield was talking about Sundance and their upcoming film there Suncoast.
Justine Triet’s ‘Anatomy of a Fall’ won Best Screenplay and Best Feature Not in the English Language
Missing was the immediate post-Globes party scene at the Hilton that could add up to six different studios throwing bashes. This year there was just one on site, thrown by music trade publication Billboard. Netflix (which had a big night for Beef), with a swinging and packed affair at Spago down the street, and Universal across from it at Tommys with an equally crowded after party kept the tradition alive. Both were enough for me.
Related: Golden Globes Parties + Events Photos: Golden Globe Foundation Dinner, W Magazine, The Art of Elysium, The Golden Eve Party & More
Bottom line: the turnout was significant. Hollywood showed up, folks, even resistance leaders like ID publicist Kelly Bush Novak leading Christopher Nolan through the gauntlet. I mean, anytime you get Bruce Springsteen and Taylor Swift to show up (albeit both nominated at the Globes with no chance of using it as a platform to advance to the Oscars), you have to think we have returned to the glory days, or close, considering the Globes were on a suicide watch with even Tom Cruise so upset with them he returned his three statuettes (might he want them back now?). The parade of stars from Ryan Gosling to Leonardo DiCaprio to Jennifer Aniston to Margot Robbie, Ben Affleck, Matt Damon and on and on Sunday meant few no-shows.
(L-r) Nicholas Braun and Charles Melton on the Globes red carpet
Key among the impressive winners was the Cannes Palme d’Or laureate Anatomy of a Fall, which not only took Best Motion Picture Not in the English Language, but also significantly Best Screenplay against heavyweights like KIllers of the Flower Moon, Barbie and Oppenheimer. That indicated to me that the effort to bring in real international journalists had paid off and the selections were serious, and most importantly, credible. In fact, between the movie awards and the TV awards there was not a single cringe moment — at least as far as winners were concerned.
‘Beef’s Lee Sung Jin accepts the Globe for Limited Series, Anthology Series or Motion Picture Made For Television
Speaking of the TV side, the Globes were actually downright respectable, even if a bit boring in their predictability. Succession dominated the Drama series wins, The Bear swept comedy, and Beef took all the key Limited Series honors as HBO, FX and Netflix had a very good night. Things were back to business as usual, as witnessed also by the fact that the open bar in the back was hopping; the networking was off the charts during commercials; and the feeling that after all that came before in the past few years, at the very least this awards show, for good or bad, offered a sense of normalcy Hollywood was craving at this particular moment.
The ratings on new network CBS and Paramount+ will tell their own story, but for now the Golden Globes seems to be back on track, reports of its imminent demise perhaps premature?...
And as for the return of the Globes themselves, it felt like I was in some kind of time machine thrust back to 2018 that had taken me back to a Globes show where the audience is constantly mingling and talking amongst themselves, where nobody really takes any of it seriously, and where it was still a good time — something actually living up to the claim of being “Hollywood’s party of the year.”
Related: Golden Globes Photos: The Best Looks From The Red Carpet
I was barred from the Beverly Hilton Ballroom Globes ceremony last year for reasons only they know (so were most of my fellow pundits), but we were welcomed back this year and I have to say it was a throwback to a Golden Globes that, while rocky at times and searching for its true identity in terms of the season, was a welcome cog in the wheel of this crazy race to Oscar, one with a genuine screwy past that 81 years in still seems oddly necessary.
Related: Golden Globes TV Review: Taylor Swift, Kevin Costner & “White People Roles” Help Ceremony Pick Up The Pace After Stumbling Start
The ‘Poor Things’ team on Sunday
Universal certainly seems to think so. Executives and stars and filmmakers of their phenomenal hit Oppenheimer, the night’s big winner with five Globes including Best Motion Picture – Drama, were partying well into the night at Tommys in Beverly Hills. The studio has been a consistent favorite with the Globes having won in the recent past several times including Green Book, 1917, The Fabelmans and more that have taken a Best Picture prize. Now with Oppenheimer it is back in the game in a big way, although one that is not terribly unexpected. Oppenheimer has been relatively quiet on the awards circuit thus far, but the Globes victories have pushed it into the stratosphere, with a quick follow-up expected next weekend for the film, which is full of nominations from the Critics Choice Awards. In between, we have the SAG nominations being announced Wednesday and a Cast nomination would be a clear sign it is all smooth sailing until the Oscars. Universal’s Focus Features specialty division also picked up a couple of well-deserved wins for The Holdovers’ Paul Giamatti and Da’Vine Joy Randolph (the latter on a clear path to Oscar this season).
Related: Golden Globes Scorecards: Wins By Movie, TV Show, Distributor & Network
Favorites like Maestro, Killers of the Flower Moon, and Barbie (perhaps too pink for its own good won only Best Song and for its Boxoffice success) disappointed, clearing the way for Oppenheimer to cement its frontrunner status in the next couple of weeks. Perhaps the movie to look out for as competition, at least by the evidence of its Gg wins, is Poor Things, which took Best Picture Comedy/Musical and Actress Comedy/Musical for its star Emma Stone. Competitors can take heart though that neither Globe Best Picture winners last year – The Fabelmans and The Banshees of Inisherin – went on to any Oscar wins.
(L-r) Greta Gerwig and Margot Robbie win the Cinematic and Box Office Achievement for ‘Barbie’
Dependable Oscar precursor or not, the Globes, in other words, looks poised to regain its place in the season’s pecking order. I found no one really focused on its past scandals Sunday night, but rather in high spirits talking about anything but the transgressions that led to a virtual boycott and dismissal of what, until then, had always been a key stop on the circuit, and one importantly with a decades-long Hollywood tradition. On Sunday instead, Sony chairman Tom Rothman was talking to us about the phenomenal holds their rom-com Anyone But You was experiencing, and A24’s David Fenkel was touting a similar growing success for its drama The Iron Claw. Searchlight’s Matthew Greenfield was talking about Sundance and their upcoming film there Suncoast.
Justine Triet’s ‘Anatomy of a Fall’ won Best Screenplay and Best Feature Not in the English Language
Missing was the immediate post-Globes party scene at the Hilton that could add up to six different studios throwing bashes. This year there was just one on site, thrown by music trade publication Billboard. Netflix (which had a big night for Beef), with a swinging and packed affair at Spago down the street, and Universal across from it at Tommys with an equally crowded after party kept the tradition alive. Both were enough for me.
Related: Golden Globes Parties + Events Photos: Golden Globe Foundation Dinner, W Magazine, The Art of Elysium, The Golden Eve Party & More
Bottom line: the turnout was significant. Hollywood showed up, folks, even resistance leaders like ID publicist Kelly Bush Novak leading Christopher Nolan through the gauntlet. I mean, anytime you get Bruce Springsteen and Taylor Swift to show up (albeit both nominated at the Globes with no chance of using it as a platform to advance to the Oscars), you have to think we have returned to the glory days, or close, considering the Globes were on a suicide watch with even Tom Cruise so upset with them he returned his three statuettes (might he want them back now?). The parade of stars from Ryan Gosling to Leonardo DiCaprio to Jennifer Aniston to Margot Robbie, Ben Affleck, Matt Damon and on and on Sunday meant few no-shows.
(L-r) Nicholas Braun and Charles Melton on the Globes red carpet
Key among the impressive winners was the Cannes Palme d’Or laureate Anatomy of a Fall, which not only took Best Motion Picture Not in the English Language, but also significantly Best Screenplay against heavyweights like KIllers of the Flower Moon, Barbie and Oppenheimer. That indicated to me that the effort to bring in real international journalists had paid off and the selections were serious, and most importantly, credible. In fact, between the movie awards and the TV awards there was not a single cringe moment — at least as far as winners were concerned.
‘Beef’s Lee Sung Jin accepts the Globe for Limited Series, Anthology Series or Motion Picture Made For Television
Speaking of the TV side, the Globes were actually downright respectable, even if a bit boring in their predictability. Succession dominated the Drama series wins, The Bear swept comedy, and Beef took all the key Limited Series honors as HBO, FX and Netflix had a very good night. Things were back to business as usual, as witnessed also by the fact that the open bar in the back was hopping; the networking was off the charts during commercials; and the feeling that after all that came before in the past few years, at the very least this awards show, for good or bad, offered a sense of normalcy Hollywood was craving at this particular moment.
The ratings on new network CBS and Paramount+ will tell their own story, but for now the Golden Globes seems to be back on track, reports of its imminent demise perhaps premature?...
- 1/8/2024
- by Pete Hammond
- Deadline Film + TV
It’s rare for a studio to become a brand, but A24 has managed it. Since its humble beginnings as a New York-based distribution company founded by Daniel Katz, David Fenkel, and John Hodges in August 2012, A24 has become synonymous with quality for film lovers, the place that releases the must-see indies everyone is talking about.
A24’s first film was the little-seen and little-loved “A Glimpse Inside the Mind of Charles Swan III” from Roman Coppola, which hit theaters in February 2013 to muted fanfare. But the movie that really put the company on the map was “Spring Breakers,” Harmony Korine’s wild crime comedy that hit theaters in March that same year and established many of the conventions fans associate with the brand: artful neon cinematography, shocking content and stylized violence, and cool-kid cleverness suffused in every frame. That’s not to say every movie that the company distributes...
A24’s first film was the little-seen and little-loved “A Glimpse Inside the Mind of Charles Swan III” from Roman Coppola, which hit theaters in February 2013 to muted fanfare. But the movie that really put the company on the map was “Spring Breakers,” Harmony Korine’s wild crime comedy that hit theaters in March that same year and established many of the conventions fans associate with the brand: artful neon cinematography, shocking content and stylized violence, and cool-kid cleverness suffused in every frame. That’s not to say every movie that the company distributes...
- 11/16/2023
- by Wilson Chapman
- Indiewire
For the past decade, A24 has cultivated an almost cultlike devotion from its fans, thanks to its excellent taste in projects and idiosyncratic, meme-able movies like “The Witch,” “Uncut Gems” and “Midsommar.” Their films inspire such interest that their features usually come with a curated, highly sought-after merchandise drop that fans can purchase via their official website.
But a new strategy — which includes chasing the rights to the “Halloween” franchise — could land them in a place that, for all their big swings, they’ve never been before: the mainstream.
According to a top agent with knowledge of the company, over the summer A24 acquisition executive Noah Sacco made the talent agency rounds in search of “action and big IP projects.” The studio, the agent told TheWrap, is “deemphasizing the traditional character/auteur driven dramas.”
“Everyone in the independent film space is aware that A24 needs to pivot to more commercial films alongside its arthouse slate,...
But a new strategy — which includes chasing the rights to the “Halloween” franchise — could land them in a place that, for all their big swings, they’ve never been before: the mainstream.
According to a top agent with knowledge of the company, over the summer A24 acquisition executive Noah Sacco made the talent agency rounds in search of “action and big IP projects.” The studio, the agent told TheWrap, is “deemphasizing the traditional character/auteur driven dramas.”
“Everyone in the independent film space is aware that A24 needs to pivot to more commercial films alongside its arthouse slate,...
- 10/11/2023
- by Umberto Gonzalez
- The Wrap
The Oscar Meter at Deadline is working overtime as the race for the 96th Academy Awards is shifting into higher gear as summer turns to fall this weekend.
The official start of the very long six month+ awards season is now behind us as we made it through the Fall Festival Trifecta of Venice/Telluride/Toronto that has always launched the season, and we are one week away from the start of two more important autumn fests with New York Film Festival getting underway on September 29th and London Film Festival beginning a week later. Those fests, unlike the Trifecta, aren’t big on World Premieres, but rather will help put the crop of already premiered contenders at 2023 festivals that also include last January’s Sundance, and May’s Cannes further into laser focus as to their actual chances of ultimately landing Oscar nominations. New York though is offering a...
The official start of the very long six month+ awards season is now behind us as we made it through the Fall Festival Trifecta of Venice/Telluride/Toronto that has always launched the season, and we are one week away from the start of two more important autumn fests with New York Film Festival getting underway on September 29th and London Film Festival beginning a week later. Those fests, unlike the Trifecta, aren’t big on World Premieres, but rather will help put the crop of already premiered contenders at 2023 festivals that also include last January’s Sundance, and May’s Cannes further into laser focus as to their actual chances of ultimately landing Oscar nominations. New York though is offering a...
- 9/22/2023
- by Pete Hammond
- Deadline Film + TV
The head of the Vc firm that invested several hundred million dollars in A24 a year ago says the indie producer-distributor’s “extraordinary” momentum could lead to a large international business and potential acquisitions.
As is their wont, A24 executives are not talking publicly, but Stripes partner Ken Fox did speak with Deadline soon after the studio’s record-setting Oscar haul, highlighted by Everything Everywhere All at Once. The company’s nine wins included Best Picture, Best Director and all four acting categories (counting Brendan Fraser’s triumph as lead actor in The Whale).
Related Story ‘Everything Everywhere All At Once’: SXSW’s First World Premiere To Win Oscar’s Best Picture Related Story International Insider: British Broadcasting Crisis; Oscar Roundup; Filmart/Qatar Dispatches; Fremantle Results Related Story 'The View' Talks Scrotums, But Avoids A Low Blow On Hugh Grant Oscars Carpet Antics
Stripes, which primarily buys into software and consumer-facing businesses,...
As is their wont, A24 executives are not talking publicly, but Stripes partner Ken Fox did speak with Deadline soon after the studio’s record-setting Oscar haul, highlighted by Everything Everywhere All at Once. The company’s nine wins included Best Picture, Best Director and all four acting categories (counting Brendan Fraser’s triumph as lead actor in The Whale).
Related Story ‘Everything Everywhere All At Once’: SXSW’s First World Premiere To Win Oscar’s Best Picture Related Story International Insider: British Broadcasting Crisis; Oscar Roundup; Filmart/Qatar Dispatches; Fremantle Results Related Story 'The View' Talks Scrotums, But Avoids A Low Blow On Hugh Grant Oscars Carpet Antics
Stripes, which primarily buys into software and consumer-facing businesses,...
- 3/17/2023
- by Jill Goldsmith, Dade Hayes and Andreas Wiseman
- Deadline Film + TV
On the way into the Governors’ Ball, Darren Aronofsky happily accepted congrats for two Oscar wins for “The Whale,” for comeback kid Best Actor Brendan Fraser and his makeup transformation. “All Quiet on the Western Front” star Felix Kammerer was ecstatic about the German film’s four wins, even if Germany and his home country Austria couldn’t celebrate a Best Picture trophy. (Netflix came tantalizingly close.) And the A24 team, led by co-founder David Fenkel, were beaming, even if true to form they refused to pose for a celebratory group photo.
Finally, the night marked a changing of the guard. Yes, A24 had scored Oscars before, even taking Best Picture (“Moonlight”). But “Everything Everywhere All at Once” dominated Oscar season, finally winning seven out of 11 possible Oscars, the most wins for a Best Picture winner since Searchlight’s “Slumdog Millionaire” took home eight. (The last film to win seven...
Finally, the night marked a changing of the guard. Yes, A24 had scored Oscars before, even taking Best Picture (“Moonlight”). But “Everything Everywhere All at Once” dominated Oscar season, finally winning seven out of 11 possible Oscars, the most wins for a Best Picture winner since Searchlight’s “Slumdog Millionaire” took home eight. (The last film to win seven...
- 3/13/2023
- by Anne Thompson
- Indiewire
After spending a couple awards cycles on the sidelines, A24 reemerged this year with more Oscar nominations than any other studio–18 between six films: “Everything Everywhere All at Once,” “The Whale,” “Aftersun,” “Causeway,” “Marcel the Shell With Shoes On,” and “Close.” The arthouse label is positioned to set an even more staggering record, though. If Oscar night, as it did in 2022, repeats both the SAG and DGA Awards–in other words, if “Eeaao” takes Best Actress (Michelle Yeoh), Best Supporting Actor (Ke Huy Quan), Best Supporting Actress (Jamie Lee Curtis), Best Director (Daniel Kwan and Daniel Scheinert), and Best Picture, while Best Actor goes to “The Whale” (Brendan Fraser)–A24 will become the first studio in history to make a clean sweep of the top categories.
See Ke Huy Quan (‘Everything Everywhere All at Once’) on a comeback 30 years in the making: ‘I don’t take for granted for a second,...
See Ke Huy Quan (‘Everything Everywhere All at Once’) on a comeback 30 years in the making: ‘I don’t take for granted for a second,...
- 3/2/2023
- by Ronald Meyer
- Gold Derby
When the dust settled on Tuesday’s Oscar nominations, for the first time in its 10-year history, independent studio A24 emerged as the most nominated single studio, with 18 total nods across six movies. That includes best picture nominee “Everything Everywhere All at Once,” which lead all films with 11 total nominations, as well as “The Whale”, “Aftersun” (actor), “Causeway” (supporting actor), “Close” (international film), and “Marcel the Shell With Shoes On” (animated feature).
“It’s enormously gratifying to see a film like ‘Everything Everywhere All At Once’ recognized in such a big way, our first nominations in the International and Animation categories and the eight wonderful actors receiving their first Oscar nominations,” the studio said in a statement to Variety. “It made for a very exciting morning and is a testament to the incredible talent we are lucky enough to work with.”
The accomplishment caps a stunning awards season run for the still-young company,...
“It’s enormously gratifying to see a film like ‘Everything Everywhere All At Once’ recognized in such a big way, our first nominations in the International and Animation categories and the eight wonderful actors receiving their first Oscar nominations,” the studio said in a statement to Variety. “It made for a very exciting morning and is a testament to the incredible talent we are lucky enough to work with.”
The accomplishment caps a stunning awards season run for the still-young company,...
- 1/24/2023
- by Adam B. Vary
- Variety Film + TV
How did this emotional sketch become a movie? Tilda Swinton and Joanna Hogg, born on March 20, 1960 in London, England, UK and known for writing and directing The Souvenir (2019), The Souvenir: Part II (2021) and Unrelated (2007), all produced by Emma Norton of Jwh Films, are favored by the charmed circle of rich white seemingly heterosexual men like Martin Scorsese (Sikelia Productions), David Fenkel and Daniel Katz (A24), and British vet producer Ed Guiney (Element Pictures). This is all conjuncture on my part, as it was when I wrote about the deal behind Triangle of Sadness, but the sketchiness of this and the formulaic quality of Triangle, coupled with the stellar names of those involved in the production lead me to believe there was more to the making of the movie deal than there is to the movie itself. In The Eternal Daughter, these men have chosen to celebrate womanhood as expressed by a particular female filmmaker as she attempts to create a story about herself and her mother plus one kindly black bereaved man played by Joseph Mydell (there is a hint of something about slavery here) and a cold modern young woman played by Carly-Sophia Davies whose heart also melts at the pathos of the celebate and lonely filmmaker, who actually is not pathetic but apparently just creatively alive. Watch the trailer here and then watch the movie and judge for yourself: https://www.imdb.com/title/tt13874422/?ref_=fn_al_tt_1 Together these men must have brought the film to Kristin Irving of the BBC where it got made, somewhat along the same lines as highly touted The Souvenir which landed BBC Films with funds from BFI Film Fund and was also produced by Jwh Films, again in association with Scorsese’s incubator Sikelia. This time Protagonist Pictures was the international sales agent and A24 only distributed in North America. Its sequel, The Souvenir Part II stars real-life mother and daughter Tilda Swinton and Honor Swinton Byrne, a conceit which perhaps gave life to the idea of another mother-and-daughter movie in which both roles are played by Tilda Swinton and which was made by the same team plus Ed Guiney of Element Pictures. A24 has now taken on both international sales and US rights. All of these films must have made 2 cents at the box office. What’s up? What is Tilda Swinton herself up to these days? Her previous film Three Thousand Years of Yearning by stalwart filmmaker George Miler sold to more interternational distributors in 2021 and 2022 than the Jwh films did, but it still must not have fared much better at the box office. (Read my blon on that here.) The short by Almodovar, The Human Voice, was a little gem, showing off Swinton’s accomplished acting skills as she enacted the remake of Cocteau’s The Human Voice under strict Covid protocols. But none of these reaches the new heights always expected of her…We’ll see what her next four films The End (pre-production) by Joshua Oppenheimer, Asteroid City (post-production) by Wes Anderson, The Killer (post-production) by David Fincher, and an Untitled Julio Torres Project (post-production) bring to the audiences who eagerly await whatever she does (count me among them). The Eternal Daughter has been described as a mystery drama and as a ghost story about “a middle-aged daughter and her elderly mother who confront long-buried secrets when they return to their former family home, a once-grand manor that has become a nearly vacant hotel brimming with mystery.” But there are no ghosts nor is there much of a mystery beyond why a mother and daughter have an eternal and universal tension between them, as most mothers and daughters do. Nor is the nearly vacant hotel ever revealed to be the ancestral home, nor is there much of a mystery about a banging shutter which keeps Tilda the daughter up at night. And whence cometh the acclaim of Joanna Hogg? Perhaps it was Covid. Dare I argue with the top film festivals and critics whom Rotten Tomatoes scored at 95%? Who are these critics? How many males among them? All Swinton has to do is attach her name to a project and it will be made — with male money. The film does truly touch emotions felt by every daughter trying to hard to please a mother who cannot express her own desires or her own heartfelt love for her daughter. But this situation makes the daughter seem pathetic except in her own creative mind as she grapples with the dilemna of The Eternal Duaghter. But what is the story here? That a writer’s imagination trumps reality? Are we so starved for emotional experiences that such a sketch brings us to tears? Am I horribly out of touch with the universe? Another film which touches this same raw nerve is Charlotte Wells’ Aftersun. Where have I gone wrong? Compare this to Eo, a film with no ersatz emotion and created to produce an emotion the director Jerzy Skolomowski had not felt since he saw Au Hasard Balthazar in 1966. Read my blog and his quotations. I am longing for the days of Angelopoulos, of Terence Davies or even Peter Greenaway. Give me hard art, not oblique emotional sketches, playing like the little musical phrase that Proust’s Swann held so dear as a reminder of his lost love. Postscript: An interesting article by Carlos Aguilar appeared in the LA Times shortly after I published this. It explains the long friendship between Tilda Swinton and Joanna Hogg. At first I thought it negated my negative take on the deal, but on second reading, I decided that it only added another tier to the dealmaking process which is that Tilda swings her own weight and can bring in her friend to the circle of dealmaking whereas before, Hogg remained in the background of the art film world.
- 12/18/2022
- by Sydney
- Sydney's Buzz
HBO Max is already the home of A24 series, including “Euphoria,” but now the streamer is adding several of the distributor’s feature films as well, a rep from Warner Bros. Discovery confirmed to TheWrap on Tuesday.
The list of films that will be added on August 1 includes 2015’s “Room,” which netted Brie Larson a Best Actress Oscar, Alex Garland’s 2014 sci-fi stunner “Ex Machina,” “Amy,” Asif Kapadia’s Oscar-winning documentary about the late Amy Winehouse, and the Tom Hardy film “Locke.”
While not every A24 film will start streaming August 1 — alas no, “Minari,” “The Witch,” or “Hereditary” — here are the 28 titles set to debut on HBO Max.
Also Read:
How to Watch ‘Men’: Is Alex Garland’s A24 Horror Film Streaming? “The Adderall Diaries” (2016) “Amy” (2015) “Barely Lethal” (2015) “The Captive, Aka Queen Of The Night” (2014) “Charles Swan” (2013) “Dark Places” (2015) “The End of the Tour” (2015) “Enemy” (2014) “Ex-Machina” (2015) “Ginger & Rosa” (2013) “How...
The list of films that will be added on August 1 includes 2015’s “Room,” which netted Brie Larson a Best Actress Oscar, Alex Garland’s 2014 sci-fi stunner “Ex Machina,” “Amy,” Asif Kapadia’s Oscar-winning documentary about the late Amy Winehouse, and the Tom Hardy film “Locke.”
While not every A24 film will start streaming August 1 — alas no, “Minari,” “The Witch,” or “Hereditary” — here are the 28 titles set to debut on HBO Max.
Also Read:
How to Watch ‘Men’: Is Alex Garland’s A24 Horror Film Streaming? “The Adderall Diaries” (2016) “Amy” (2015) “Barely Lethal” (2015) “The Captive, Aka Queen Of The Night” (2014) “Charles Swan” (2013) “Dark Places” (2015) “The End of the Tour” (2015) “Enemy” (2014) “Ex-Machina” (2015) “Ginger & Rosa” (2013) “How...
- 7/20/2022
- by Sharon Knolle
- The Wrap
Filmmaker Chloe Okuno was originally tapped to direct the project, but this would land in the lap of Halina Reijn. The actress-turned director who first broke out with 2019’s Instinct (Dutch entry for Best International Feature Film at the 92nd Academy Awards) worked from a spec script originally written by “Cat Person” author Kristen Roupenian. An A24 project, Bodies, Bodies, Bodies began filming staring Lee Pace, Pete Davidson, Amandla Stenberg, Maria Bakalova, Rachel Sennott and Myha’la Herrold.
Gist: There are no plot details for this slasher film.
Production Co./Producers: 2Am’s David Hinojosa, David Fenkel, John Hodges, Daniel Katz.…...
Gist: There are no plot details for this slasher film.
Production Co./Producers: 2Am’s David Hinojosa, David Fenkel, John Hodges, Daniel Katz.…...
- 11/22/2021
- by Eric Lavallée
- IONCINEMA.com
A24 recently explored a possible sale, with the indie film studio floating an asking price of between $2.5 billion to $3 billion.
Sources familiar with the situation tell Variety that the Oscar-winning shop behind “Moonlight” and “Uncut Gems” has engaged with numerous potential suitors for more than 18 months. It’s unclear if those discussions continue to be ongoing. Sources close to A24 said the company is focused on expansion and is not prioritizing a sale.
Initially, the $2.5 billion-plus price tag drew some skepticism, but the media landscape has changed dramatically in just the past 12 months.
Amazon has set a deal to acquire MGM for $8.6 billion, a price that also seemed sky-high to industry insiders. Reese Witherspoon’s Hello Sunshine content banner has quietly begun seeking a sale or a partner in a deal that would value the company as high as $1 billion transaction. In this heady environment, the A24 auction could be...
Sources familiar with the situation tell Variety that the Oscar-winning shop behind “Moonlight” and “Uncut Gems” has engaged with numerous potential suitors for more than 18 months. It’s unclear if those discussions continue to be ongoing. Sources close to A24 said the company is focused on expansion and is not prioritizing a sale.
Initially, the $2.5 billion-plus price tag drew some skepticism, but the media landscape has changed dramatically in just the past 12 months.
Amazon has set a deal to acquire MGM for $8.6 billion, a price that also seemed sky-high to industry insiders. Reese Witherspoon’s Hello Sunshine content banner has quietly begun seeking a sale or a partner in a deal that would value the company as high as $1 billion transaction. In this heady environment, the A24 auction could be...
- 7/13/2021
- by Matt Donnelly
- Variety Film + TV
While running NBCUniversal’s boutique TV studio UCP, Dawn Olmstead thought of the company behind such shows as “Dirty John” and “The Umbrella Academy” as something of an indie shingle inside a larger conglomerate. But then she took the job as CEO and partner at Anonymous Content.
At UCP, Olmstead had worked with Anonymous on “Mr. Robot” and “Homecoming.” But once inside the production and management company, “I realized, ‘This is what it really feels like to be independent,’” Olmstead says. “And in the best of ways, I think, because the landscape is shifting so rapidly, to be at a company like Anonymous, when they see something, they can pivot really quickly. This particular company has always been about finding difficult stories to tell and those kind of visionary auteurs.”
Anonymous is one of several production companies that have eschewed overall deals or alliances with major studios, networks or streamers...
At UCP, Olmstead had worked with Anonymous on “Mr. Robot” and “Homecoming.” But once inside the production and management company, “I realized, ‘This is what it really feels like to be independent,’” Olmstead says. “And in the best of ways, I think, because the landscape is shifting so rapidly, to be at a company like Anonymous, when they see something, they can pivot really quickly. This particular company has always been about finding difficult stories to tell and those kind of visionary auteurs.”
Anonymous is one of several production companies that have eschewed overall deals or alliances with major studios, networks or streamers...
- 4/22/2021
- by Michael Schneider
- Variety Film + TV
Update: An earlier version of this story said Twitter will stream the film on its app; that was incorrect. The tech company will be handling outreach for “Run This Town.”
Twitter is linking with Oscilloscope Laboratories to do outreach on Ricky Tollman’s feature film debut, “Run This Town,” starring Grammy and Tony award-winner Ben Platt as a precocious journalist who stumbles into a life-altering story. The film will release day-and-date on March 6.
“Run This Town” follows Bram, a young newspaper intern who desperately wants to cover hard-hitting news but is stuck writing listicles; his fortunes suddenly change when he luckily finds some salacious information on ex-Toronto mayor Rob Ford and is thrust into a hasty investigation that links him with two of the mayor’s aides. The Twitter-Oscilloscope partnership comes a year after the film debuted at the SXSW Film Festival.
Joining Platt in the film are Mena Massoud...
Twitter is linking with Oscilloscope Laboratories to do outreach on Ricky Tollman’s feature film debut, “Run This Town,” starring Grammy and Tony award-winner Ben Platt as a precocious journalist who stumbles into a life-altering story. The film will release day-and-date on March 6.
“Run This Town” follows Bram, a young newspaper intern who desperately wants to cover hard-hitting news but is stuck writing listicles; his fortunes suddenly change when he luckily finds some salacious information on ex-Toronto mayor Rob Ford and is thrust into a hasty investigation that links him with two of the mayor’s aides. The Twitter-Oscilloscope partnership comes a year after the film debuted at the SXSW Film Festival.
Joining Platt in the film are Mena Massoud...
- 1/23/2020
- by Sean Burch
- The Wrap
Heading into Golden Globes weekend, the annual American Film Institute Awards is a civilized, untelevised gathering that plays into the hands of awards campaigners who nab any chance to put their contenders in front of the media. This lunch at the Four Seasons is more relaxed and convivial than most because, as AFI president Bob Gazzale pointed out, everybody’s a winner.
Each January, top players from the 10 movie and 10 TV winners know all they have to do is socialize for an hour or so, pick at their salmon, and applaud 20 clips. Actually, this year there were 22, as the juries gave special awards to two foreign imports, Phoebe Waller-Bridge’s “Fleabag” and Bong Joon Ho’s “Parasite.” “Once Upon a Time in Hollywood” star Brad Pitt bounded across the room to greet the director Bong and the cast of “Parasite,” whose clip earned rousing applause.
Gazzale pointed out several AFI...
Each January, top players from the 10 movie and 10 TV winners know all they have to do is socialize for an hour or so, pick at their salmon, and applaud 20 clips. Actually, this year there were 22, as the juries gave special awards to two foreign imports, Phoebe Waller-Bridge’s “Fleabag” and Bong Joon Ho’s “Parasite.” “Once Upon a Time in Hollywood” star Brad Pitt bounded across the room to greet the director Bong and the cast of “Parasite,” whose clip earned rousing applause.
Gazzale pointed out several AFI...
- 1/4/2020
- by Anne Thompson
- Thompson on Hollywood
Heading into Golden Globes weekend, the annual American Film Institute Awards is a civilized, untelevised gathering that plays into the hands of awards campaigners who nab any chance to put their contenders in front of the media. This lunch at the Four Seasons is more relaxed and convivial than most because, as AFI president Bob Gazzale pointed out, everybody’s a winner.
Each January, top players from the 10 movie and 10 TV winners know all they have to do is socialize for an hour or so, pick at their salmon, and applaud 20 clips. Actually, this year there were 22, as the juries gave special awards to two foreign imports, Phoebe Waller-Bridge’s “Fleabag” and Bong Joon Ho’s “Parasite.” “Once Upon a Time in Hollywood” star Brad Pitt bounded across the room to greet the director Bong and the cast of “Parasite,” whose clip earned rousing applause.
Gazzale pointed out several AFI...
Each January, top players from the 10 movie and 10 TV winners know all they have to do is socialize for an hour or so, pick at their salmon, and applaud 20 clips. Actually, this year there were 22, as the juries gave special awards to two foreign imports, Phoebe Waller-Bridge’s “Fleabag” and Bong Joon Ho’s “Parasite.” “Once Upon a Time in Hollywood” star Brad Pitt bounded across the room to greet the director Bong and the cast of “Parasite,” whose clip earned rousing applause.
Gazzale pointed out several AFI...
- 1/4/2020
- by Anne Thompson
- Indiewire
Heading into Golden Globes weekend, awards campaigners are taking every opportunity to put their contenders in front of cameras and media. One of the most civilized events is the annual American Film Institute Awards lunch, which is more relaxed and convivial than most gatherings, because, as AFI president Bob Gazzale always points out, everybody’s a winner.
The first week of January each year, top players involved with the 10 movie and 10 TV winners know all they have to do is comfortably socialize for an hour or so, eat their salmon, and applaud 20 clips. Actually, this year there were 21, as the film jury gave Alfonso Cuarón’s “Roma,” which was ineligible as a foreign-language film, a special award.
TV jury chief Rich Frank said his team had to sift through more than 500 scripted series. “They were tough to narrow down,” he said. Among the lucky winners was “Better Call Saul” star Bob Odenkirk,...
The first week of January each year, top players involved with the 10 movie and 10 TV winners know all they have to do is comfortably socialize for an hour or so, eat their salmon, and applaud 20 clips. Actually, this year there were 21, as the film jury gave Alfonso Cuarón’s “Roma,” which was ineligible as a foreign-language film, a special award.
TV jury chief Rich Frank said his team had to sift through more than 500 scripted series. “They were tough to narrow down,” he said. Among the lucky winners was “Better Call Saul” star Bob Odenkirk,...
- 1/5/2019
- by Anne Thompson
- Thompson on Hollywood
Heading into Golden Globes weekend, awards campaigners are taking every opportunity to put their contenders in front of cameras and media. One of the most civilized events is the annual American Film Institute Awards lunch, which is more relaxed and convivial than most gatherings, because, as AFI president Bob Gazzale always points out, everybody’s a winner.
The first week of January each year, top players involved with the 10 movie and 10 TV winners know all they have to do is comfortably socialize for an hour or so, eat their salmon, and applaud 20 clips. Actually, this year there were 21, as the film jury gave Alfonso Cuarón’s “Roma,” which was ineligible as a foreign-language film, a special award.
TV jury chief Rich Frank said his team had to sift through more than 500 scripted series. “They were tough to narrow down,” he said. Among the lucky winners was “Better Call Saul” star Bob Odenkirk,...
The first week of January each year, top players involved with the 10 movie and 10 TV winners know all they have to do is comfortably socialize for an hour or so, eat their salmon, and applaud 20 clips. Actually, this year there were 21, as the film jury gave Alfonso Cuarón’s “Roma,” which was ineligible as a foreign-language film, a special award.
TV jury chief Rich Frank said his team had to sift through more than 500 scripted series. “They were tough to narrow down,” he said. Among the lucky winners was “Better Call Saul” star Bob Odenkirk,...
- 1/5/2019
- by Anne Thompson
- Indiewire
Apple, which has been ramping up its original content ambitions largely via TV series with the likes of Reese Witherspoon, Jennifer Aniston, Jason Momoa, Octavia Spencer and Chris Evans, is turning its attention to movies. The company is partnering with A24 on a multiyear agreement that will see the film and TV studio produce a slate of films for the tech giant.
It is the biggest move to date in the film space for Apple’s worldwide video operation, run by former Sony TV toppers Jamie Erlicht and Zack Van Amburg. The company first hinted at its intentions beyond TV around the Toronto Film Festival when the company acquired documentary feature The Elephant Queen and animated film Wolfwalkers
A24 is a distribution, financing, development and production company whose prestige credits include 2017’s Best Picture Oscar winner Moonlight. Launched in 2012, its films have included the critical successes A Most Violent Year,...
It is the biggest move to date in the film space for Apple’s worldwide video operation, run by former Sony TV toppers Jamie Erlicht and Zack Van Amburg. The company first hinted at its intentions beyond TV around the Toronto Film Festival when the company acquired documentary feature The Elephant Queen and animated film Wolfwalkers
A24 is a distribution, financing, development and production company whose prestige credits include 2017’s Best Picture Oscar winner Moonlight. Launched in 2012, its films have included the critical successes A Most Violent Year,...
- 11/15/2018
- by Patrick Hipes and Nellie Andreeva
- Deadline Film + TV
A24 and Apple have entered an agreement that will see the film studio produce multiple features for Apple over the course of several years. Founded by Daniel Katz, David Fenkel, and John Hodges in the summer of 2012, A24 has grown into one of the most prestigious distributors of art-house cinema in the country, earning acclaim and awards for the likes of “Room” and “The Lobster” before winning Best Picture with 2016’s critically adored “Moonlight.”
The company released more than a dozen features this year alone, with “First Reformed,” “Lean on Pete,” “Hereditary,” “Eighth Grade,” and “Mid90s” garnering the most praise. Apple, meanwhile, is best known to moviegoers who frequent the iTunes Store for home viewing, with many well-received films — including a number of A24’s — making their digital premiere on the platform before being available anywhere else. Details on the partnership are currently scarce, though it stands as the most...
The company released more than a dozen features this year alone, with “First Reformed,” “Lean on Pete,” “Hereditary,” “Eighth Grade,” and “Mid90s” garnering the most praise. Apple, meanwhile, is best known to moviegoers who frequent the iTunes Store for home viewing, with many well-received films — including a number of A24’s — making their digital premiere on the platform before being available anywhere else. Details on the partnership are currently scarce, though it stands as the most...
- 11/15/2018
- by Michael Nordine
- Indiewire
After a brief flurry of acquisitions gossip, and Monday’s announcement that A24 co-founder John Hodges will exit the company, A24 and/or Apple “insiders” let it be known that Apple wasn’t going to buy the hot young indie studio. Per Deadline, talks between A24 and Apple “so far appear to only be for partnerships on projects.”
While this deal appears to be a nonstarter, it speaks to the presence of Silicon Valley in Hollywood, and with the independents as well. It’s very likely that Apple will consider film acquisitions, just as A24 will continue to see overtures. But more than ever, it’s the techies who will call the shots.
For decades, six major studios ruled film and television. As studios’ output continues to shrink, with their parent companies increasingly disenchanted with the movie business, it’s likely that the new six will be Amazon, Apple, Disney/Fox/ABC,...
While this deal appears to be a nonstarter, it speaks to the presence of Silicon Valley in Hollywood, and with the independents as well. It’s very likely that Apple will consider film acquisitions, just as A24 will continue to see overtures. But more than ever, it’s the techies who will call the shots.
For decades, six major studios ruled film and television. As studios’ output continues to shrink, with their parent companies increasingly disenchanted with the movie business, it’s likely that the new six will be Amazon, Apple, Disney/Fox/ABC,...
- 3/30/2018
- by Jenna Marotta
- Indiewire
A hot and heavy rumor that A24 will be acquired by Apple is being shot down and called untrue by insiders. Word around town is that Apple wants to make an acquisition of the indie film distributor as the digital giant’s entry portal into the film business. The rumor caught fire after this week’s exit of John Hodges, who founded the company in 2012 with David Fenkel and Daniel Katz. I’m told there have been overtures made by others toward the indie company, but that Apple discussions so far appear to only be for partnerships on projects. The rumored interest in A24 is understandable. The company has quickly distinguished itself as a tasteful and effective advocate for prestige films. A24 has made smart pickups including Ex Machina, and the distributor has landed three Best Picture candidates in the past five years. The A24 release Moonlight won Best Picture last year.
- 3/29/2018
- by Mike Fleming Jr
- Deadline Film + TV
A24 founding partner John Hodges announced that he will be leaving the indie studio that he helped launch nearly six years ago, the company announced Monday. Fellow founding partners Daniel Katz and David Fenkel will continue to oversee the NYC-based indie studio, which has seen great success with Oscar-winning films such as “Room,” “Ex Machina” and last year’s surprise Best Picture winner “Moonlight.” Hodges, who previously served as head of production at the indie production company Big Beach (“Little Miss Sunshine”), did not announce any immediate career plans. Also Read: Sundance, SXSW Comedy 'Never Goin' Back' Sells to A24 “John has been a...
- 3/26/2018
- by Thom Geier
- The Wrap
After last year’s three-Oscar haul for “Moonlight,” including Best Picture, A24 wants to prove that was no anomaly. Here’s what the rising young distributor will push this awards season. (Remember: A year ago, “Moonlight” wasn’t viewed as a likely Best Picture contender — much less the big winner.)
Co-founded by David Fenkel, John Hodges, and Daniel Katz, A24 is known for edgy arthouse pleasers that eschew conventional storytelling. “Moonlight” was the company’s first original production; its other box office players include Oscar-winners “Ex Machina,” “Room,” and “Amy,” and smart horror flick “The Witch.” But none have passed the $27 million box office earned by “Moonlight.”
Read More:Why Greta Gerwig’s ‘Lady Bird’ Is a Serious Oscar Contender
After the fall trifecta of Venice, Telluride and Toronto, the company has three bonafide awards contenders: SXSW’s well-reviewed true story “The Disaster Artist” (December 1), director James Franco’s 14th...
Co-founded by David Fenkel, John Hodges, and Daniel Katz, A24 is known for edgy arthouse pleasers that eschew conventional storytelling. “Moonlight” was the company’s first original production; its other box office players include Oscar-winners “Ex Machina,” “Room,” and “Amy,” and smart horror flick “The Witch.” But none have passed the $27 million box office earned by “Moonlight.”
Read More:Why Greta Gerwig’s ‘Lady Bird’ Is a Serious Oscar Contender
After the fall trifecta of Venice, Telluride and Toronto, the company has three bonafide awards contenders: SXSW’s well-reviewed true story “The Disaster Artist” (December 1), director James Franco’s 14th...
- 9/27/2017
- by Anne Thompson
- Thompson on Hollywood
After last year’s three-Oscar haul for “Moonlight,” including Best Picture, A24 wants to prove that was no anomaly. Here’s what the rising young distributor will push this awards season. (Remember: A year ago, “Moonlight” wasn’t viewed as a likely Best Picture contender — much less the big winner.)
Co-founded by David Fenkel, John Hodges, and Daniel Katz, A24 is known for edgy arthouse pleasers that eschew conventional storytelling. “Moonlight” was the company’s first original production; its other box office players include Oscar-winners “Ex Machina,” “Room,” and “Amy,” and smart horror flick “The Witch.” But none have passed the $27 million box office earned by “Moonlight.”
Read More:Why Greta Gerwig’s ‘Lady Bird’ Is a Serious Oscar Contender
After the fall trifecta of Venice, Telluride and Toronto, the company has three bonafide awards contenders: SXSW’s well-reviewed true story “The Disaster Artist” (December 1), director James Franco’s 14th...
Co-founded by David Fenkel, John Hodges, and Daniel Katz, A24 is known for edgy arthouse pleasers that eschew conventional storytelling. “Moonlight” was the company’s first original production; its other box office players include Oscar-winners “Ex Machina,” “Room,” and “Amy,” and smart horror flick “The Witch.” But none have passed the $27 million box office earned by “Moonlight.”
Read More:Why Greta Gerwig’s ‘Lady Bird’ Is a Serious Oscar Contender
After the fall trifecta of Venice, Telluride and Toronto, the company has three bonafide awards contenders: SXSW’s well-reviewed true story “The Disaster Artist” (December 1), director James Franco’s 14th...
- 9/27/2017
- by Anne Thompson
- Indiewire
A24, the company founded in 2012 by Daniel Katz, David Fenkel and John Hodges, has been hitting the motherlode—for indie companies, anyway—with smart film choices and even smarter ways of bringing them to marketplace, particularly in their increasingly innovative—and, yes, disruptive—use of digital marketing. It not only has been working at the box office, but also at the Academy Awards, where the company defied expectations and watched their first in-house production…...
- 5/27/2017
- Deadline
A24, the New York-based independent entertainment company founded by Daniel Katz, David Fenkel, and John Hodges has just scooped up the worldwide rights to Uncut Gems, a thriller set to be directed by both Josh and Benny Safdie (The Pleasure Of Being Robbed, Daddy Longlegs). Alongside the announcement of the film, it's also been revealed that Jonah Hill (War Dogs, Moneyball) is set to star in the project... Read More...
- 5/16/2017
- by Steve Seigh
- JoBlo.com
Buyers return to Cannes like swallows to the Capistranos, but this year they’ll find a hostile landscape. Too many buyers, too few titles, and streaming-service disruptors are driving up prices all the while, making North American prebuys increasingly necessary.
That’s hazardous terrain: Witness the Weinstein Company’s $6 million bid for transgender drama “3 Generations” (aka “After Ray”). Two years later, after a title change and poor reviews on and off the festival circuit, the drama starring Elle Fanning and Susan Sarandon finally received a May 5 release. Total domestic gross to date: $46,421.
That was in 2015, the last year that TWC held its then-annual dog-and-pony show for buyers and press at the Majestic Hotel. This year, like the last, they’ll hold court on their yacht, which also serves as their offices — still tony, but on a budget; it’s a lot less expensive than that prime Croissette real estate. Meanwhile,...
That’s hazardous terrain: Witness the Weinstein Company’s $6 million bid for transgender drama “3 Generations” (aka “After Ray”). Two years later, after a title change and poor reviews on and off the festival circuit, the drama starring Elle Fanning and Susan Sarandon finally received a May 5 release. Total domestic gross to date: $46,421.
That was in 2015, the last year that TWC held its then-annual dog-and-pony show for buyers and press at the Majestic Hotel. This year, like the last, they’ll hold court on their yacht, which also serves as their offices — still tony, but on a budget; it’s a lot less expensive than that prime Croissette real estate. Meanwhile,...
- 5/15/2017
- by Anne Thompson and Graham Winfrey
- Thompson on Hollywood
Buyers return to Cannes like swallows to the Capistranos, but this year they’ll find a hostile landscape. Too many buyers, too few titles, and streaming-service disruptors are driving up prices all the while, making North American prebuys increasingly necessary.
That’s hazardous terrain: Witness the Weinstein Company’s $6 million bid for transgender drama “3 Generations” (aka “After Ray”). Two years later, after a title change and poor reviews on and off the festival circuit, the drama starring Elle Fanning and Susan Sarandon finally received a May 5 release. Total domestic gross to date: $46,421.
That was in 2015, the last year that TWC held its then-annual dog-and-pony show for buyers and press at the Majestic Hotel. This year, like the last, they’ll hold court on their yacht, which also serves as their offices — still tony, but on a budget; it’s a lot less expensive than that prime Croissette real estate. Meanwhile,...
That’s hazardous terrain: Witness the Weinstein Company’s $6 million bid for transgender drama “3 Generations” (aka “After Ray”). Two years later, after a title change and poor reviews on and off the festival circuit, the drama starring Elle Fanning and Susan Sarandon finally received a May 5 release. Total domestic gross to date: $46,421.
That was in 2015, the last year that TWC held its then-annual dog-and-pony show for buyers and press at the Majestic Hotel. This year, like the last, they’ll hold court on their yacht, which also serves as their offices — still tony, but on a budget; it’s a lot less expensive than that prime Croissette real estate. Meanwhile,...
- 5/15/2017
- by Anne Thompson and Graham Winfrey
- Indiewire
The Best Picture Flub heard around the world — when “La La Land” was erroneously handed the top Academy Award in February over “Moonlight”– was a veritable meme factory thanks to shocked A-listers and filmmakers from both projects. What we haven’t yet heard is an account from the film boutique “Moonlight’s” distributor A24, a five-year-old art house that defied the odds and claimed Best Picture in its young life. Daniel Katz and David Fenkel relived the moment in a profile from May’s GQ Style — an unusual oral history of a very inside Hollywood operation that features commentary from the likes.
- 5/10/2017
- by Matt Donnelly
- The Wrap
General audiences don’t pay much attention to the distributors of most films (unless the distributor happens to be Disney). But most film distributors aren’t A24 Films, the little start-up distribution company that could. Founded in 2012 by Daniel Katz, David Fenkel, and John Hodges, A24 is one of the rare independent film distributors to build […]
The post Ranking All 48 (Mostly Great) Movies Released by A24 appeared first on /Film.
The post Ranking All 48 (Mostly Great) Movies Released by A24 appeared first on /Film.
- 5/1/2017
- by Chris Evangelista
- Slash Film
A24 cemented its perception as the new-model indie distributor when Barry Jenkins’ “Moonlight” won three Oscars, including that dramatic best-picture win. So what does the upstart indie, hailed for holding the skeleton key that unlocks the precious millennial demo, do for an encore?
The Tribeca Film Festival showcased two upcoming A24 releases, both of which seem oddly retro: World War II costume drama “The Exception,” starring Oscar-winner Christopher Plummer as Kaiser Wilhelm II, and “The Lovers,” starring Debra Winger and Tracy Letts as an unhappy older married couple. They also dropped the trailer for Yiddish-language Hasidic family drama “Menashe” and suddenly, the new boss looks a lot like the old one.
What gives? This older-demo arthouse trio could easily carry the signature blue-and-white logo of venerable specialty distributor Sony Pictures Classics. But don’t be deceived by appearances. A24 is a far cry from older-generation studio indies like Spc and Fox Searchlight,...
The Tribeca Film Festival showcased two upcoming A24 releases, both of which seem oddly retro: World War II costume drama “The Exception,” starring Oscar-winner Christopher Plummer as Kaiser Wilhelm II, and “The Lovers,” starring Debra Winger and Tracy Letts as an unhappy older married couple. They also dropped the trailer for Yiddish-language Hasidic family drama “Menashe” and suddenly, the new boss looks a lot like the old one.
What gives? This older-demo arthouse trio could easily carry the signature blue-and-white logo of venerable specialty distributor Sony Pictures Classics. But don’t be deceived by appearances. A24 is a far cry from older-generation studio indies like Spc and Fox Searchlight,...
- 4/27/2017
- by Anne Thompson
- Indiewire
A24 cemented its perception as the new-model indie distributor when Barry Jenkins’ “Moonlight” won three Oscars, including that dramatic best-picture win. So what does the upstart indie, hailed for holding the skeleton key that unlocks the precious millennial demo, do for an encore?
The Tribeca Film Festival showcased three upcoming A24 releases, all of which seem oddly retro. There’s Yiddish-language Hasidic family drama “Menashe,” World War II costume drama “The Exception,” starring Oscar-winner Christopher Plummer as Kaiser Wilhelm II, and “The Lovers,” starring Debra Winger and Tracy Letts as an unhappy older married couple. Suddenly, the new boss looks a lot like the old one.
What gives? This older-demo arthouse trio could easily carry the signature blue-and-white logo of venerable specialty distributor Sony Pictures Classics. But don’t be deceived by appearances. A24 is a far cry from older-generation studio indies like Spc and Fox Searchlight, which tend to follow an established playbook.
The Tribeca Film Festival showcased three upcoming A24 releases, all of which seem oddly retro. There’s Yiddish-language Hasidic family drama “Menashe,” World War II costume drama “The Exception,” starring Oscar-winner Christopher Plummer as Kaiser Wilhelm II, and “The Lovers,” starring Debra Winger and Tracy Letts as an unhappy older married couple. Suddenly, the new boss looks a lot like the old one.
What gives? This older-demo arthouse trio could easily carry the signature blue-and-white logo of venerable specialty distributor Sony Pictures Classics. But don’t be deceived by appearances. A24 is a far cry from older-generation studio indies like Spc and Fox Searchlight, which tend to follow an established playbook.
- 4/27/2017
- by Anne Thompson
- Thompson on Hollywood
Screen Producers Australia has confirmed its international executive lineup for the Screen Forever 2015 International Partnership Market.
This year's lineup will include International Drama Commissioner, UK broadcaster Channel 4, Simon Maxwell; Voltage Pictures. Vice President, Acquisitions and Development, Babacar Diene (Us); A24 Chief Operating Officer Matthew Bires (Us); All3 Media International Head of Acquisitions, Maartje Horchner (UK); and Acquisitions Executive Emily Gotto from international sales company Protagonist (Us).
The Screen Forever International Partnership Market takes place during Screen Forever 2015 conference, which runs from November 17-19 at the Crown Conference Centre in Melbourne.
Screen Producers Australia Chief Executive Matthew Deaner said he was delighted to have such highly regarded executives participating.
"Each brings with them outstanding experience in developing and overseeing critically and commercially successful productions for film and television around the world," he said..
.Through Screen Forever and the International Partnership Market, the international participants, along with those still to be announced,...
This year's lineup will include International Drama Commissioner, UK broadcaster Channel 4, Simon Maxwell; Voltage Pictures. Vice President, Acquisitions and Development, Babacar Diene (Us); A24 Chief Operating Officer Matthew Bires (Us); All3 Media International Head of Acquisitions, Maartje Horchner (UK); and Acquisitions Executive Emily Gotto from international sales company Protagonist (Us).
The Screen Forever International Partnership Market takes place during Screen Forever 2015 conference, which runs from November 17-19 at the Crown Conference Centre in Melbourne.
Screen Producers Australia Chief Executive Matthew Deaner said he was delighted to have such highly regarded executives participating.
"Each brings with them outstanding experience in developing and overseeing critically and commercially successful productions for film and television around the world," he said..
.Through Screen Forever and the International Partnership Market, the international participants, along with those still to be announced,...
- 8/25/2015
- by Inside Film Correspondent
- IF.com.au
A24’s “Spring Breakers” opened to the most unexpected limited success of any film in recent history with a two-city $90,000 per screen average: this for a filmmaker (Harmony Korine) whose past films have struggled to gross that much during their entire runs. After weeks of sparse new openings to fill the post-Oscar void, this weekend showed real strength. Curiously, none of the three new good-to-great openers come from the usual companies that dominate the year-round line-up, and each was not seen as an automatic success (which is why they weren't picked up a bigger company). A24 had a second opening this week (a very unusual move) with “Ginger and Rosa,” very ambitious for a new company. Formed just before Toronto last year by three veterans of the specialized industry, including David Fenkel, who co-founded Oscilloscope Laboratories in 2008 (which also opened a new film this week), the company has already made...
- 3/17/2013
- by Tom Brueggemann
- Thompson on Hollywood
The Sundance Film Festival has been underway for a few days now, but the buyers' market has been slow to get moving. It's not entirely surprising; as we documented last week, a run of disappointments has left distributors a little more cautious than in the past, and with few films attracting across-the-board raves, there's further reason to keep the purse strings tightened until most of the major films have screened. But with the majority of the big-ticket movies now having unspooled, things are starting to warm up, with a number of major deals closing in the last 24 hours or so. Among the most high profile is "The Spectacular Now," the well-liked teen drama from "Smashed" director James Ponsoldt, starring bright young things Miles Teller and Shailene Woodley. A number of buyers were said to be in the hunt, but it's A24 Films, the new company set up by Oscilloscope co-founder David Fenkel,...
- 1/21/2013
- by Oliver Lyttelton
- The Playlist
One of my favorite films on the fall fest circuit was "Ginger and Rosa," Sally Potter's 1962 London Bohemian family drama focused on two teen girls (Elle Fanning and Alice Englert, daughter of Jane Campion) coming of age under the threat of nuclear disaster. New distributor A24, led by ex-Oscilloscope exec David Fenkel, is qualifying the film for awards consideration for its remarkable performance from Fanning. She rocked in J.J. Abrams' "Super 8," and does extraordinary things here. With a weak field, if enough actors and critics respond well to the film, Fanning has a long-shot chance. Potter keeps the camera close on her face, and explains why in our Telluride conversation: "She has a quality, Elle, of transparency in her face. It's like there's nothing in the way. If you can get to work with her on all the inside layers, and I really did do a lot...
- 10/20/2012
- by Anne Thompson
- Thompson on Hollywood
Ron Fricke and Mark Magidson's visually sumptuous 70mm documentary "Samsara" has become Oscilloscope Laboratories' biggest hit since its founding in February 2008. This past weekend, the documentary surpassed O-scope's previous benchmark, 2011's "We Need to Talk about Kevin," which totalled $1.7 million at the domestic box office. Shot over five years in twenty-five countries on five continents, "Samsara" is the third explorative collaboration between Fricke and Magidson, after "Baraka" and "Chronos." "Samsara" premiered on August 24 in New York and Seattle to the highest per-screen-average of any documentary released in 2012. As of October 14, 2012 "Samsara" has grossed over $1.8 million. Despite rumors of change at the company in September after the passing of company founder Adam Yauch and the departure of David Fenkel, the studio is moving full steam ahead. ...
- 10/15/2012
- by Maggie Lange
- Thompson on Hollywood
Longtime publicist Nicolette Aizenberg has taken on the meaty job of steering publicity for newly formed distributor A24. The New York-based former 42 West senior exec already has A24’s first two films, the recent acquisitions “Ginger & Rosa” and “A Glimpse Inside the Mind of Charles Swan III,” on the runway in need of attention. As head of publicity, Aizenberg has several challenges right out of the gate. Sally Potter’s “Ginger and Rosa” has emerged from its Telluride and Toronto film festival premieres with strong critical response and awards whispers pushing Elle Fanning’s lead performance. With A24 principals David Fenkel, Daniel Katz and John Hodges already committing to an Oscar-qualifying run in December for the coming-of-age drama, Aizenberg has very little time to get an awards campaign running. That the film is the company’s first release carries its own pressures, but Aizenberg was already handling...
- 10/3/2012
- by Jay A. Fernandez
- Indiewire
New York, NY (October 3, 2012) – A24 announced today that the company has brought Nicolette Aizenberg on board as their Head of Publicity. Aizenberg, who will work out of the company’s New York headquarters, will segue from her current role as senior film publicity executive at 42West. Aizenberg, who is a beloved member of the New York film world, also previously held positions at Miramax Films, Samuel Goldwyn Films, and Palm Pictures prior to her several years with 42West. A24 principals David Fenkel, Daniel Katz and John Hodges said in a joint statement, “Nicolette is incredibly talented, hard working, and thoughtful. She is an innovator with a comprehensive understanding of how to best navigate the film publicity realm, and also all aspects of film distribution. Additionally, she has a deep appreciation of the changing world, and the need to use traditional and creative methods to achieve the goal of each film.
- 10/3/2012
- by MIKE FLEMING
- Deadline
A24 has picked up Sally Potter's lovely coming-of-age film "Ginger & Rosa," starring Elle Fanning, Alice Englert (daughter of Jane Campion), Alessandro Nivola, Christina Hendricks, Annette Benning, Timothy Spall and Oliver Platt. Set in 1962 London, the film recently debuted at the Telluride Film Festival, with additional screenings at Toronto and the upcoming New York Film Festival. This is a big buy for fledgling indie distributor A24, led by former Oscilloscope exec David Fenkel, who is planning an Oscar-qualifying run for the film in 2012 (to push 14-year-old Fanning's remarkable performance as budding political radical and poet), with a theatrical release in early 2013. Check out our extensive recent interview with Potter here, and our review of "Ginger & Rosa" here.
- 9/25/2012
- by Beth Hanna
- Thompson on Hollywood
Brand new distributor A24 has jumped on its second acquisition, Sally Potter’s period coming-of-age drama “Ginger & Rosa,” which had its world premiere at the Telluride Film Festival earlier this month before showing at Toronto as well. In a bold gambit, the company plans to release the film before the end of the year to qualify for awards consideration, with a theatrical release to follow early in 2013. "We fell in love with 'Ginger & Rosa,'" said the A24 team of Daniel Katz, John Hodges and David Fenkel. "We’ve been fans of Sally's for a long time. She has crafted a touching, heartfelt and extraordinary work anchored by an absolutely incredible performance by Elle Fanning, which already has a tremendous amount of love from audiences and journalists alike." Read More: Updated Toronto 2012 Round-Up: Full List of Acquisitions, Plus Sales Agents From CAA, UTA, Wme, ICM Weigh In Fanning, Alice Englert,...
- 9/25/2012
- by Jay A. Fernandez
- Indiewire
A24 has acquired Ginger & Rosa, the Sally Potter-directed film that stars Elle Fanning. A story about friendship and betrayal, the film premiered at Telluride and Toronto and plays the New York Film Festival on October 8. Alice Englert, Alessandro Nivola, Christina Hendricks, Timothy Spall, Oliver Platt, and Annette Bening also star. A24 plans on a qualifying run of the film in 2012 for awards consideration followed by a theatrical release in early 2013. A24 said in a statement: “We fell in love with Ginger & Rosa. We’ve been fans of Sally’s for a long time. She has crafted a touching, heartfelt, and extraordinary work anchored by an absolutely incredible performance by Elle Fanning which already has a tremendous amount of love from audiences and journalists alike. We look forward to bringing the film to a wide audience and showing the world one of the best performances of the year.” Ginger & Rosa...
- 9/25/2012
- by MIKE FLEMING
- Deadline
Reports of change at indie distributor Oscilloscope Laboratories' are premature. Oscilloscope ("Wendy and Lucy," "The Messenger,") has a team of eight people on the ground at the Toronto Film Festival this week, led by O-Scope veterans Dan Berger and David Laub, who acquired Matteo Garrone's Italian Cannes competition entry "Reality" in May, which went on to win the Grand Jury Prize and makes its North American debut in Toronto. In the last year, as O-Scope founder/owner, Beastie Boy Adam Yauch, was fighting cancer, Oscilloscope execs David Fenkel, who left the company as announced soon after Yauch's death on May 4 to start indie distributor A24, and his successors Berger and Laub, were running the show. "David Fenkel's departure was unexpected and obviously came at a difficult time," writes the company's sole owner, Yauch's widow Dechen Yauch, in an email exchange. "But Adam did everything he could to.
- 9/11/2012
- by Anne Thompson
- Thompson on Hollywood
Film veterans David Fenkel, Daniel Katz and John Hodges are teaming up on A24, a new distribution company the will launch in advance of the Toronto Film Festival. The company hopes to release eight to 10 films a year, several of them theatrically. It will produce and acquire movies. Fenkel is best known for starting Oscilloscope Laboratories, the producer of such challenging indie fare as "Meek's Cutoff," "The Messenger" and "Howl." Katz oversaw film financing at Guggenheim Partners. Hodges has been an acquisitions executive at Focus Features and USA Films. He was most...
- 8/20/2012
- by Brent Lang
- The Wrap
With the Toronto International Film Festival just a few weeks away, a new distribution player has entered the field. New York-based A24, the creation of David Fenkel, Daniel Katz and John Hodges, will both acquire films and produce its own, with the goal of releasing eight to ten films annually. “We see an exciting opportunity right now for movies in the domestic space especially given all the new ways to target moviegoers and the changes that are happening in the marketplace,” said the three principals. “We are looking forward to working with great storytellers to bring their films to audiences.” Fenkel launched Oscilloscope Laboratories in 2008 with the late Adam Yauch, and as president he focused the company’s resources on truly independent fare, such as “We Need to Talk About Kevin,” “Wendy & Lucy” and “The Messenger.” While this experience puts the new enterprise in a good position to...
- 8/20/2012
- by Jay A. Fernandez
- Indiewire
By Zachary Swickey
On the eve of the late Adam Yauch's birthday, Beastie Boys fans can celebrate the life and legacy of McA with a Beastie-centric walking tour of New York City. Happening Saturday (August 4), the tour will visit over a dozen different locations that relate to the Boys and their musical history.
Led by a Beastie's super fan, the tour group will rendezvous at Frederick Douglass Playground on the corner of 101st Street and Amsterdam Ave. before traveling to their first official stop at John Berry’s Loft, which was the first venue to host a Beastie Boys performance.
Also included on the tour is Oscilloscope Laboratories, the independent film distribution company that was founded by McA along with David Fenkel, which notably released street artist Banksy’s documentary “Exit Through the Gift Shop.” In addition to being a film production company location, To the Five Burroughs,...
On the eve of the late Adam Yauch's birthday, Beastie Boys fans can celebrate the life and legacy of McA with a Beastie-centric walking tour of New York City. Happening Saturday (August 4), the tour will visit over a dozen different locations that relate to the Boys and their musical history.
Led by a Beastie's super fan, the tour group will rendezvous at Frederick Douglass Playground on the corner of 101st Street and Amsterdam Ave. before traveling to their first official stop at John Berry’s Loft, which was the first venue to host a Beastie Boys performance.
Also included on the tour is Oscilloscope Laboratories, the independent film distribution company that was founded by McA along with David Fenkel, which notably released street artist Banksy’s documentary “Exit Through the Gift Shop.” In addition to being a film production company location, To the Five Burroughs,...
- 8/1/2012
- by MTV News
- MTV Newsroom
It is unsurprising that on the day we lost Adam Yauch to cancer, the Beastie Boy is being remembered mainly for his musical achievements. But over the last decade, Yauch also made a significant contribution to the film world both as a director — overseeing the 2006 Beastie Boys concert film Awesome; I F—in’ Shot That and the 2008 basketball documentary Gunnin’ for That #1 Spot — and as the co-founder of the film company Oscilloscope Pictures.
Yauch set up Oscilloscope in 2008 with ThinkFilm Vice President David Fenkel and, over the past four years, the company has released an impressively eclectic array of movies,...
Yauch set up Oscilloscope in 2008 with ThinkFilm Vice President David Fenkel and, over the past four years, the company has released an impressively eclectic array of movies,...
- 5/4/2012
- by Clark Collis
- EW - Inside Movies
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