A24 films you should check out
In the last several years, the production powerhouse A24 has made itself a household name through its unique, unusual, and downright maddening approach to plots following the “typical story.” Though this company has produced several less-than-noteworthy creations, we’re here to show you that their highs outweigh their lows tenfold—so let's get started!
Kendall’s Top Three:
To be completely candid, anyone who knows me knows there are few things I love more than a coming-of-age film, with my number one comfort movie famously being Perks of Being a Wallflower (2012). Please, then, keep my deep and un-abiding love of ‘teenagedom,’ sincerity to the point of cringe, and complex character relationships in mind as you move through this lineup.
Ladybird (2017):
Christine, portrayed by Saoirse Ronan, is a hallmark of flawed protagonists—she is so understandable in her angst. Honestly, I could write a whole article about the iconic dressing room scene alone. The way this movie tackles the struggle of trying to find your identity separate from the family unit and its underpinning commentary on classism are themes I feel are so universal and handled with such nuance inside a compact 94 minutes.
Everything, Everywhere All at Once (2022):
Jobu Tupaki, where do you start with this dynamic, humorous, and showstopping “antagonist?” I mean, she searches every multiverse to find a version of her mother that might be able to understand and share in her agony—need I say more? The overall ‘nihilistic optimism’ philosophy this movie lands on just really does something for me: Nothing matters; therefore, everything matters the same, and from there, we get to choose what is important—wild!
Moonlight (2016):
Knowing that the most prominent piece of information about this film is the 2017 Oscars ‘Best Picture,’ incident will never fail to fill me with a rage never before known to man. Not only is this film visually stunning with color grading and symbolism deserving an award on its own, but this film—admittedly—made me cry so hard that I had to pause it to collect myself upon first watch. It handles systemic racism, LGBTQIA+ romance, and internalized homophobia, as well as how trauma stays with us in a way that fundamentally changed me as a person.
Nate’s Top Three:
I am an absurdist at heart, and because of this, I love media that keeps you guessing, sticking to no preconceived plot, and trying things that don’t work for the sake of visuals but for enhancing the art. Films like Sorry to Bother You (2018) will always be the first I call to as an example of this. If it is goofy, intriguing, and downright nonsensical, sign me up!
Marcel the Shell with Shoes On (2022):
This movie will break even the strongest movie watchers and leave you crying. Marcel and his grandmother create a dynamic so pure, natural, and reminiscent of my own life that I can’t help but empathize with them. Everything in this movie results from ample dedication and meticulous execution. I don’t think this film will ever leave my top five, and it is nowhere close to five.
The Lobster (2016):
The amount I can say about this film warrants its own debrief. How far are you willing to go to embrace cultural norms? Similarly, how willing are you to completely rid yourself of these normative standards? At the center of it all is the question: is true love true? Oh my god…This movie has everything you need in an absurdist film; that’s a promise!
Talk to Me (2023):
When I first heard Racka-Racka was creating a film, I assumed it would be nothing out of their ordinary YouTube shorts, but was I wrong! This film encapsulates absurdism, horror, drama, and so many other genres into one seamlessly—and that’s no small feat. Though I’ve already written an article about it, there’s simply too much to say, so give it a watch, and I assure you, it’ll stick with you.
Alex’s Top Three:
I adore films that give me things I do not expect. After ten years of stale, bland, ugly blockbusters (cough, Marvel, cough), I broadened my horizons, and the more a film subverted my expectations, the more I loved it, and A24 has been excelling at just that sensation!
Beau Is Afraid (2023):
I had no idea what to expect with Ari Aster’s third feature-length film. I still don’t even really know what I got; That’s what I love about it. Beau Is Afraid (2023) is a polarizing film—and I admit it could have been shorter—but people will be discussing it and what it means for years. When a film can do that, it’s the kind of special thing that only A24 has delivered in recent years.
The Iron Claw (2023):
I expected a run-of-the-mill biopic about wrestlers and a good performance from The Bear’s (2022-present) Jeremy Allen White, who would be overshadowed by Zac Efron phoning it in. The Iron Claw (2023) ended up being one of the most heartbreaking films I have seen in recent years, bringing the tragedy of Shakespeare’s King Lear to professional wrestling. Efron not only outshined White, but I was (and am) legitimately furious that he did not receive at least a nomination for Best Actor at the 96th Academy Awards.
Bodies Bodies Bodies (2022):
I expected a somewhat humorous slasher comedy with some sleazy sex appeal. Instead, I found one of the wittiest horror comedies since Ready Or Not (2019) that might just encapsulate the Zoomer generation into a singular 94-minute laugh riot with one of the greatest twist endings I’ve ever seen.
A24 is a company that has over 150 titles in its production catalog, meaning there is inevitably something for you, even if you don’t agree with our choices. Give this studio a try, as they’ve been doing the same with hundreds of small-budget creators who would’ve never been allowed to create their dream film otherwise! Support A24 so they can continue supporting aspiring filmmakers like ourselves!
Thumbnail photo courtesy of Wikimedia Commons