"For this week's special double issue, Alex Barasch reports on the rise and the indie dominance of A24, which since its founding, in 2012, has built an ardent following with movies such as "Moonlight," "The Brutalist," "Everything Everywhere All at Once," and many more, including some first-rate horror films. In addition, A24 does brisk sales in merch (sweatshirts, dog leashes), and hosts a fan club with roughly a hundred thousand paying members. Some acolytes have even gotten tattoos of the studio's logo."
"Part of A24's cachet undoubtedly comes from its discerning taste in collaborators: filmmakers such as Sofia Coppola, Alex Garland, Ari Aster, and Barry Jenkins. But Alex notes that, despite its work with highly individual directors, the studio's films have a unifying quality: "each one feels, for better or worse, like the product of a singular mind." That "mind" is composed of a core group of executives who collaborate on nearly every phase of the project: green-lighting a movie, helping in the editing room, cheering up a nervous director, selling the movie to audiences."
A24, founded in 2012, has cultivated an ardent following through distinctive films such as Moonlight, The Brutalist, Everything Everywhere All at Once, and notable horror titles. The studio generates additional revenue and visibility through merchandise sales and a paying fan club of roughly one hundred thousand members; some fans even get the studio's logo tattooed. A compact core of executives shapes projects across green-lighting, editing, director support, and audience outreach, creating a unifying sensibility across filmmakers. Marketing campaigns are coordinated with directors but also serve as broader studio branding. The company now intends to pursue larger, blockbuster-style releases alongside its indie slate.
Read at The New Yorker
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