All articles tagged with #a24
Kane Parsons, the YouTube-driven creator behind the Backrooms, explains how A24 optioning his open-source creepypasta propelled him into Hollywood and led him to defer college to develop the film. He emphasizes filmmaking as engineering, keeps lore in check with a practical approach, and envisions expanding the Backrooms universe through future movies or a series while continuing his YouTube projects.
After a 16-minute standing ovation at Cannes, Los Javis’ La Bola Negra sparked a multi-studio bidding war for U.S. rights, with A24, Mubi, and Netflix among bidders; the queer epic spanning 85 years of Spanish history, inspired by Lorca and featuring a cameo by Penélope Cruz, is produced by Suma Content Films with Goodfellas handling international sales and a Spain release set for Oct. 2.
Anne Hathaway almost quit the A24 musical Mother Mary after seeing footage of herself performing the film’s original songs, doubting she could entice audiences; she decided to stay, noting there would be no shame in being fired but a bigger one in quitting. She then spent months taking dance lessons and a year refining her vocals, even returning to the studio to re-record much of her part with Jack Antonoff. The film, directed by David Lowery, centers a pop star’s comeback and recently premiered.
At Cannes, Jordan Firstman’s directorial debut Club Kid secured a reported $17 million sale to A24 after a competitive bidding war, signaling a major festival win for a film about a Manhattan club promoter whose life expands into queer family drama. Shot on 35mm for a polished look, the movie is aimed at a theatrical release with a star-and-cast-heavy rollout, and Firstman discusses his personal growth, addressing perceptions of his persona, meeting Joel Almodóvar, and the importance of portraying queer life with nuance rather than as a stereotype. He also notes the film’s strong festival reception and the intention to bring the full cast to promotional events, including a standout post-Cannes run and the possibility of BAFTA Rising Star momentum.
Cannes 2026 saw Hollywood largely absent as studios balk at big-budget risks amid wary critics, but the festival still delivered buzz: Jordan Firstman’s directorial debut Club Kid sparked a $17 million global rights deal with A24, marking the festival’s first major bidding win. AI was openly embraced as a cost-saving and creative tool, signaling a shift in how films are produced and marketed. Geopolitical tensions cast a somber mood despite the cinema showcase, underscoring a Cannes edition defined by experimentation and industry recalibration rather than star-studded spectacle.
At Cannes 2026, Jordan Firstman’s Club Kid sold for $17 million in a bidding war, with A24 winning ahead of rivals including Mubi, Focus Features, Searchlight, and Netflix. The film—written, directed by, and starring Firstman—follows a hedonistic party boy who discovers he has a ten-year-old son and must grow up, with Diego Calva and Cara Delevingne co-starring. The deal marks the festival’s first major sale amid a slate lean on Hollywood titles, heightening buzz for Firstman’s next project.
A24 has secured global rights to Jordan Firstman’s Cannes breakout Club Kid after a heated bidding war that pushed the deal into the high teens; the film, written, directed by and starring Firstman, world premiered at Cannes with Cara Delevingne co-starring, and is produced by Topic Studio with Stay Gold, with UTA Independent Film Group negotiating the deal as Cannes market activity heated up.
A24 has acquired worldwide rights to Jordan Firstman’s Cannes-selected dramedy Club Kid for $17 million after a heated bidding war, with Topic Studios financing and producing the project; other bidders included Mubi, Focus Features, Searchlight, and Netflix before A24 prevailed.
Apple TV+ has renewed Margo’s Got Money Troubles for a second season. Based on Rufi Thorpe’s novel, the Elle Fanning-led series follows Margo as she navigates money troubles and new motherhood, leaning into an online persona (TikTok and OnlyFans) with help from roommate Susie and her father Jinx. The show is produced by A24 with David E. Kelley and Eva Anderson as co-showrunners and executive producers, joined by Michelle Pfeiffer, Greg Kinnear, Marcia Gay Harden, and Nicole Kidman among others.
David Jonsson, BAFTA Rising Star 2025 for Rye Lane and Alien: Romulus, has joined Halina Reijn’s Please for A24, reuniting him with Gracie Abrams and Connor Storrie (and Tom Burke). Reijn will write and direct the project, produced by David Hinojosa for MAN UP Film with A24 financing, and Zach Nutman as executive producer.
THR’s Julian Sancton spends a day in A24’s New York orbit, touring the Cherry Lane Theatre and Wild Cherry, browsing the studio’s merch at Barnes & Noble, and attending pop‑ups and events that fuse film branding with live culture. The piece argues that A24 is turning its indie cool into an IRL ecosystem—restaurants, theaters, exclusive experiences, and hype‑driven merch—to deepen fan engagement and sustain growth, while grappling with the tension between maintaining edge and broadening appeal.
Scarlett Johansson is set to star in Ari Aster’s Scapegoat for A24, written by Aster and produced by Square Peg; production is planned for later this year to fit Johansson’s busy schedule, which includes an Exorcist reboot and a Batman sequel, with plot details being kept under wraps.
Prime Video has renewed Hazbin Hotel for a fifth and final season, announced at LVL UP Expo. Season 5 will premiere globally (date TBA) as creator Vivienne Medrano wraps the adult-animated musical with A24 and Bento Box Entertainment producing the finale.
A24 has hired Curry Barker to direct a new Texas Chainsaw Massacre reboot described as a reimagining of Tobe Hooper’s 1974 classic; Barker, whose breakout Obsession hits theaters on May 15, is also working on another Blumhouse horror project, while a Texas Chainsaw TV series remains in development with unclear connections between the projects.
Rising horror filmmaker Curry Barker is in talks to write and direct a new Texas Chainsaw Massacre for A24, with Roy Lee and Steven Schneider producing; Barker’s indie breakout success, including Obsession, helped secure the deal, signaling a fresh chapter for the franchise separate from an upcoming TV series in development.