Season Six: A24

HardieWrites at 21 I had gotten unconsciously drunk on a Tuesday evening as any good 2nd year University student does. Playing Pub golf, I was averaging two gulps to down my pint per bar, blacking out on the penultimate hole. Naturally, I had woken up Wednesday morning to a sick-covered coat accompanied by a concerned […]

As the UK patiently waits for the next strand of A24 releases, I’ve taken this time to reflect upon my favourite films from their collection. Because of the several four and a half star ratings on my Letterboxd, it can be really difficult to compare them without saying “yeah, they’re all just really good innit”.

Like many successful partnerships, the Daniels didn’t get on initially. Discussed during a recent Scriptnotes podcast episode, Daniel Scheinert outlined first impressions: “I participated too much, he (Kwan) thought I was an asshole. He didn’t participate enough, I thought he was wasting his money at film school”. Once differences were put aside, they began collaborating

A24’s surge into popular demand has become synonymous with the term ‘Elevated Horror’. Also known as Arthouse Horror, these films tend to focus more on experimental forms of shocking the audience, breaking away from the recent trend of jumpscares or the ever-popular Slashers. Therefore, they usually pander more towards critics than the general public, and

At this year’s Oscars, distribution company A24 swept up nine of their eighteen nominations. Everything Everywhere All at Once exceeded my expectations by not only winning Best Picture and Director, but also three out of the four acting categories alongside Best Writing and Editing. The other acting accolade went to Brendan Fraser’s performance in The

Once I had finally wiped away my tears from the ending of Marcel the Shell with Shoes on, I felt inspired to live spontaneously via an impromptu double bill. After hurriedly purchasing my ticket for The Whale, I crossed over to the newly refurbished wing of my local cinema for the first time. Those interested

When I showed my family Marcel the Shell with Shoes On’s trailer, they laughed at my suggestion. Even disregarding that the pretentious twenty-seven-year-old critic was recommending watching a ‘kids’ film, I couldn’t really blame them. At face value, a feature centred on the high-pitched, anthropomorphic mollusc is a little silly (sorry Marcel). Shot as a