The A24 Method: Building a Vibe
A24, founded in 2012, didn’t just distribute movies; it cultivated an aesthetic. Their strategy at Cannes has been to showcase films that feel distinctly “A24”—often ones they’ve produced or co-financed. These are films that are stylish, emotionally raw, and often a little weird. Think of Sean Baker’s vibrant and heartbreaking *The Florida Project* (2017), which premiered in the Directors' Fortnight section and became a cultural touchstone. Or Yorgos Lanthimos’s deadpan masterpiece *The Lobster* (2015), which won the Jury Prize and cemented A24’s reputation as a home for audacious auteurs. Even the Safdie Brothers’ anxiety-inducing thriller *Good Time* (2017), which competed for the Palme d'Or, felt like a mission statement. For A24, Cannes is a branding
opportunity, a chance to reinforce their identity as the curators of cool. Their success isn't just measured in awards, but in how each premiere strengthens their bond with a young, cine-literate audience that buys their merch and trusts their logo as a seal of quality.
The Neon Game: The Art of the Buy
If A24 is the meticulous curator, Neon is the brilliant, aggressive shopper. Founded in 2017 by Tom Quinn and Tim League, Neon burst onto the scene with a different model. Instead of developing a slate from the ground up, they mastered the art of the festival acquisition. Their team lands in the south of France with an open checkbook and an impeccable eye for a winner. They watch everything, identify the film that has the festival buzzing, and then do whatever it takes to secure the U.S. distribution rights. Their first big Cannes splash was acquiring *I, Tonya* just before the festival in 2017, but their true dominance started soon after. They don’t need to build a brand around a specific “type” of film; the Neon brand is simply winning. Their genius lies in identifying groundbreaking cinema, regardless of genre or origin, and rocketing it into the American cultural consciousness.
By the Numbers: The Palme d'Or Streak
When it comes to the festival's highest honor, the Palme d'Or, this isn’t a contest. It’s a rout. Neon has achieved a level of dominance at Cannes that is unprecedented for an American independent distributor. It started in 2019, when they acquired Bong Joon-ho’s *Parasite*, which won the Palme d'Or and went on to win the Oscar for Best Picture. It seemed like a once-in-a-lifetime triumph. Then they did it again. And again. And again. In an astonishing run, Neon has distributed the last FIVE Palme d’Or winners: *Parasite* (2019), *Titane* (2021), *Triangle of Sadness* (2022), *Anatomy of a Fall* (2023), and *Anora* (2024). This streak is the stuff of legend. While A24 has picked up prestigious lower-tier awards like the Jury Prize, they have never landed the big one. On the simple metric of winning Cannes’s top prize, Neon is the undisputed champion of the decade.
The Verdict: Two Kinds of Victory
So, who won the decade at Cannes? It depends on how you define winning. If the goal is to conquer the festival itself—to leave the Croisette each May with the most coveted trophy in world cinema tucked under your arm—then the winner is Neon, and it’s not even close. Their five-year Palme d'Or streak is a historic display of taste, business acumen, and sheer momentum. They have mastered the festival ecosystem better than anyone. However, if the goal is to build a lasting, beloved, and culturally resonant brand that transcends any single film, A24 has a powerful claim. More moviegoers know and love the *idea* of A24. The company has created a loyal following that will see a film based on its logo alone, a feat Neon hasn’t quite matched. A24 wins the cultural war, even if Neon keeps winning the festival battles.
