February 08, 2024 | ARTS & ENTERTAINMENT | By Sophia Lisco
Until the late 2000s, the premier destination for movie and video distribution was not a streaming service, membership-based club or even a movie theater: it was video stores. A movie rental required one to drive to their closest Blockbuster and sort through titles until they found the perfect Friday night feature.
When the iconic chain was forced to close its doors, the rise of more convenient DVD services like Redbox or Netflix filled the gaps in the market. Eventually, they too were replaced and forced to adapt during the dawn of the internet streaming era. Where Blockbuster and Hollywood Video were once household phrases, people now integrated proper nouns like Netflix, Hulu and HBO Max into their common vernacular.
Today, streaming services fight for the rights to content that will entice the most viewers and bring in the most profit as we ride the wake of the internet streaming boom. Those waves are settling though. “Netflix and chill” is old news, and people have started the search for the next exciting thing. The Netflix originals and HBO exclusive shows are growing boring. I would argue they’ve already been replaced. If “Saltburn” mania has taught us anything, it’s that our generation craves the weird and unsettling. And, so far, it’s been entertainment company A24 that has scratched that itch.
With smash hits like “Midsommar,” “Uncut Gems” and “Euphoria,” the A24 boom took advantage of gaps in mainstream film and television, pushing boundaries and, most importantly, getting people talking. Increasingly, A24 has brought independent movies into the mainstream, providing a platform for filmmakers to tell stories they might not have otherwise had the chance to tell.
In the past few years, A24 has grown exponentially without fully growing out of its independent, small studio feel and cultish fanbase. What was once a refuge for film buffs and indie darlings became itself a household name. A24 carries with it unique associations — it’s edgy, it’s indie, it’s “you wouldn’t know her,” it’s cool. But now, it’s also mainstream. Can it be both at once?
I’m not so sure. I’d say that A24 is making its exit from the indie/film buff realm, leaving behind an “Ex Machina” sized hole. Who has this market now? NEON Rated, a relatively new production and distribution company that should not be overlooked.
Not only is NEON successfully capturing the gritty, eccentric-feel that A24 once possessed, they’re making some greatfilms. From festival favorites like “Portrait of a Lady on Fire” and “Three Identical Strangers” to Academy Award contenders (and winners) like “Parasite” and “Anatomy of a Fall,” NEON is flying under the radar with some of the best projects of each year. Despite working with heavy hitters like Margot Robbie (“I, Tonya”) and David Cronenberg (“Crimes of the Future”), nobody seems to be talking about them, and I can’t offer a good reason why.
Their unique marketing campaigns and merchandise rival A24’s, but people still don’t seem to notice. If A24 had offered free units of Botox with the purchase of a movie ticket, people would have been talking. Consistently rolling out stunning, boundary-pushing works, NEON isn’t afraid to take risks (see “Oldboy” if you’re not sure what I mean). Each feature is rich, captivating, and, frankly sometimes disturbing, but that’s why we love it. By simultaneously filling A24’s shoes and paving their own path, NEON is set up to be the Next Big Thing.
Relatively speaking, the company is still in its infancy, which could explain why the world has been slow to catch on. With “Anatomy of a Fall” up for five Academy Awards (following the historic sweep of “Parasite”), one can only hope that more people discover the adorable, disturbing and emotionally upsetting worlds within NEON Rated, LLC. They won’t give us “Mid 90s,” but they’ll give us “Titane,” and I think that’s beautiful.
So, my advice is to tap into NEON as soon as you can. Follow them, buy their merch, buy their Botox, even. You’ll be able to say you knew them back when.