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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