Beginning as a three-man team of film industry veterans Daniel Katz, John Hodges and David Fenkel, A24 is now one of the largest independent film studios in Hollywood. It is also the only studio to host films like “Beau is Afraid,” “Everything Everywhere All At Once” and “Midsommar.”
Even if you haven’t watched those films mentioned, you’ve most likely heard of them. Those three films specifically are some of A24’s most popular and for good reason. Although they all have individual stories with their own twists and turns, they do share something in common: they are all unapologetically original. Something all A24 movies have in common is that they aren’t afraid to show anything or shy away from any story. For a while, there’s been a format that other studios have followed that guarantees good reception from audiences. Or at least, they’d think.
Studios believed that audiences wanted the same types of films every year. The same Hallmark romances, formulaic superhero flicks and forgettable action stories were released year after year, and it looked like people were eating it up every time. However, sometime in the late 2010s, that began to change. In between all the simple, unoriginal cash grabs of other studios, there were films like “Ex Machina” and “Amy” that broke the mold for what films could be.
Experimental cinematography and directing shined through the other films and audiences began to take notice. In the next few years, A24 not only furthered the careers of already notable directors but also brought upcoming directors to their own big breaks, highlighting hidden talents like Robert Eggers, Ari Aster and David Lowery. Every director that works under A24 brings something new to the table, and while other studios may limit their innovative ideas, A24 lets them fly loose. David Jenkins, director of “Moonlight,” said himself that A24 executives feel audiences, “...don’t need to know what it’s about. They just need to know how it feels.”
Many actors, directors and producers who work with A24 agree that the studio doesn’t focus on making films for money, but rather to evoke feelings in the audiences and tell stories that otherwise would never grace the big screen. A24 associates agree that the studio takes pride in producing and supporting some of the oddest and shocking films ever, which many have agreed is why the studio is rising to the top.
When you’re sitting in a theater and greeted by A24’s simple three-letter logo, you already know you’re not just seeing another movie that you’ll forget shortly after leaving the screening room — you’re seated for an experience. Whether it be a horrifying experience or a cathartic one, you can guarantee that the film is going to be like nothing you’d expect.
One of the worst things you can do before seeing an A24 film is to have any expectations or go into the film with theories. An A24 film is best experienced without any idea of how the plot will evolve. The great thing about being an A24 film is that the world is your oyster. A24 films are meant to be shocking and the opposite of what we expect as an audience; they’re meant to break the foundation of what films are supposed to be. They are supposed to bring artistic freedom back to the world of film and show us just how many different stories we can tell through the visual medium of film.
Mia Ashby is a senior studying journalism at Ohio University. Please note that the views and opinions of the columnist do not reflect those of The Post. Do you agree? Tell Mia by emailing her at ma237419@ohio.edu.
