In recent years, there have been two studios that seem to be making consistently great movies: Neon and A24.
With the recent success of A24’s “The Brutalist” and Neon’s “Anora,” it’s worth examining what they’re doing right in an industry where many focus on what’s wrong with major studios.
This year’s awards season was a clear show of dominance for the two studios. Both “Anora” and “The Brutalist” took home a significant haul of awards despite being wildly different films. “Anora” tells the story of a stripper who marries the son of a Russian oligarch, while “The Brutalist” is a three-and-a-half-hour drama about an architect attempting to live the American dream. Both films resonated with critics and audiences alike, which is no accident — it’s the result of a deliberate approach to filmmaking that prioritizes bold storytelling, artistic freedom and a keen eye for emerging talent.
The biggest factor in Neon and A24’s successes is their ability to produce and distribute films that are both critically acclaimed and culturally relevant. A24 has become synonymous with films such as “Everything Everywhere All at Once,” “Midsommar” and “Hereditary,” while Neon has backed bold projects such as “Parasite,” “Portrait of a Lady on Fire” and “Anatomy of a Fall.” Many of their films don’t just win awards, they spark conversations.
Their secret? A willingness to take risks on unconventional stories and work with first-time directors with a vision. While major studios chase franchises and journeyman directors, Neon and A24 invest in original voices, often creating visual and storytelling masterpieces.
Both studios have also cultivated strong relationships with certain directors, such as A24’s Alex Garland (“Warfare” and “Civil War”) and Ari Aster (“Hereditary” and “Midsommar”), and Neon’s Osgood Perkins (“Longlegs” and “The Monkey”).
In addition to all this, the studios have also been a space for underrepresented stories and creators to be heard by a wider audience. A24’s “The Florida Project” delivers an unflinching yet poetic look at America’s hidden homeless population, following six-year-old Moonee as she navigates childhood in the shadow of Disney World’s manufactured magic. The film’s raw authenticity comes from its casting of non-actors and its refusal to either pity or romanticize its characters — it simply shows their lives with compassion and clarity.
Similarly, Neon’s acquisition of “Parasite” demonstrated their knack for spotting culturally significant stories, with Bong Joon-ho’s masterpiece using dark comedy and shocking twists to expose universal truths about class struggle. Its historic Best Picture win proved foreign language films could achieve mainstream success when given proper support.
These studios have become known for their distinctive approaches to difficult subject matter. A24’s “Moonlight” revolutionized LGBTQ+ representation by presenting a Black coming-of-age story with unprecedented intimacy and nuance, while Neon’s “Honeyland” blurred the line between documentary and art film with its visually stunning portrait of traditional beekeeping practices under threat. What makes these films particularly remarkable is how they find the universal in the specific — whether it’s childhood wonder surviving poverty, or the shared human need for connection and dignity.
Their festival strategy has been key to this success. At Cannes and other major festivals, Neon and A24 have developed a reputation for recognizing groundbreaking work early. They don’t just acquire films, they champion them, using innovative marketing campaigns that turn art house cinema into cultural events. This approach has helped films like “Everything Everywhere All at Once” and “Anatomy of a Fall” transition from critical darlings to mainstream successes.
As they look to the future, both studios expand their influence while maintaining their commitment to bold storytelling. A24’s move into television with shows like “Euphoria” and “The Sympathizer” demonstrates their ability to translate their cinematic sensibility to new formats. Meanwhile, Neon continues to push boundaries with recent releases like the horror-thriller “Longlegs,” proving they remain committed to challenging audiences.
In an entertainment landscape increasingly dominated by algorithm-driven content and franchise filmmaking, Neon and A24’s success offers a hopeful alternative. By trusting visionary filmmakers and betting on unconventional stories, they’ve created a model that proves artistic integrity and commercial success aren’t mutually exclusive. Their rise suggests audiences are hungry for films that challenge, surprise and move them — films that couldn’t exist without studios willing to take risks on new voices and perspectives. As they continue to grow and evolve, one thing remains clear: the future of cinema needs studios like these.
Dylan Podlinski can be reached at [email protected]
