The "A24" of it all...
Today we'll examine if the ascension of A24 studios has effected their auteur driven stories with their newest release The Drama starring Robert Pattinson and Zendaya.
The once-small independent film and TV production company A24 Films was founded in 2012 with the idea of creating “movies with a distinctive point of view.” They often work with up-and-coming directors and originally specialized in obtaining U.S. distribution rights to hidden gem films that fit their ethos. Over the years, they have had many critically hailed yet smaller box office hits, ranging from distributing the Oscar-nominated Ex Machina back in 2015 to producing the Best Picture winner in 2022 with Everything Everywhere All at Once, which was their first feature to eclipse 100 million in ticket sales.
The company has grown tremendously during this time period, to the point where they have seemingly outgrown their upstart independent label to become a major Hollywood player. Many of its early fans point to their ability to attract auteur writers/directors with unique takes on particularly dramatic and horror themes. They were never scared to rock the boat in terms of taste or subverting expectations of traditional storylines. This has allowed them to work with the next generation of directors making a splash, from Sofia Coppola to Robert Eggers to Barry Jenkins to Greta Gerwig to Ari Aster and both Safdie brothers.
With each new success, award received, and off-the-wall theme (which often worked), you begin to invite some backlash. This is normal, as every new entertainment venture will undoubtedly experience a turn from its original fanbase given enough success and time. From their outset of spending a few million dollars to produce the Oscar-winning Moonlight in 2016 to shelling out over 75 million apiece this year for Marty Supreme and The Smashing Machine, times are changing for this small upstart. They are slowly inching closer to the “Big 5” of the Motion Picture Association than their peers like Neon and Magnolia Pictures.
Why bring all this up? Well, you start to wonder if the “A24 of it all” is more about big-ticket productions and purchasing their quirky merchandise than being the most divisive storytelling creators in the business. Divisive is not a put-down at all. It allows them to take big risks and produce some absolutely gnarly films that are beloved even if they don’t make their budget back. It also puts each release in the crosshairs, where many moviegoers find themselves either IN or OUT of the storyline. This is by design but also quite a risky business plan to live or die by.
In June of 2024, the company took a major investment from Thrive Capital, led by Joshua Kushner (yes, the Kushner family you are thinking of), to increase their production slate. Are we going to lose what made this small independent company a beacon for hungry new filmmakers? Or is this giving them new breath to take things to the next level? Let’s take their newest release, The Drama, starring Zendaya and Robert Pattinson, as our test case.
The Drama
In a nutshell: Termed a psychological black comedy, we dive into the lives of the engaged British semi-posh Charlie (Robert Pattinson) and Emma (Zendaya) as they begin their final week of wedding preparations. The Boston-based couple is joined by their best man (Mamoudou Athie) and maid of honor (Alana Haim) for a last menu tasting at their reception venue. As bottle after bottle of wine is consumed, a unique question is posed at the table: What is the worst thing you’ve ever done in your life? Each member of the party slowly gets their answers pried out and examined until we reach a very inebriated Emma.
Semi-spoiler warning. This is not a “twist” but the crux of the plot.
Emma confesses to the group that, growing up as an isolated army brat, she had a horrible teenage experience trying to fit in at her new high school in Louisiana. Furthermore, she even plotted out a high school shooting that she ultimately never carried out. The revelation shocks everyone at the table and leaves Charlie questioning everything he thought he knew about his fiancée. His bride-to-be checked every box of his well-curated lifestyle that mirrored his job as a museum director. How can he save face with his friends, family, and ultimately himself while reckoning with this monumental mental albatross just days before they share their vows?
Time is money, why should I go?: This is a classic example of putting yourself in the shoes of the main character as you watch each ensuing scene unfold. Watching Charlie spiral mentally while keeping up appearances was such a delight. The various things running through my brain as we dive deeper into the fray included the following:
Did she have ideations about this or a concrete plan? Has she dealt with this trauma in any way since her adolescence? From a British standpoint, is this even a big deal or something many Americans go through? Is she going to kill me in my sleep? Are we one wrong conversation from “this” Emma coming back? Can I spend the rest of my life with someone who kept something so problematic from me? If you truly love someone, can a past indiscretion hamper your entire future? Who is this woman I fell in love with?
Star of the show: Robert Pattinson was a young leading man from his days with the Twilight series and never truly fit the conventional Hollywood role. He likes to fight against typecasts of the heartthrob (see Good Time or The Rover). He enjoys being second fiddle to enhance a film rather than be the central focus (Tenet, The Lost City of Z, The Lighthouse). Even if he plays the lead, he wants to do it with some Pattinson panache to be distinct from what preconceived notions you envisioned (The Batman and Mickey 17).
His role as Charlie feels like someone fighting against all their natural instincts to fix a seemingly unfixable situation. His social circles won’t accept this bombshell, and he can’t mentally superglue the crumbling pedestal he placed Emma on. Charlie’s newly gained insight drives him into a hole of despair that may ultimately consume them both. A-plus stuff from Pattinson.
Don’t Sleep On: Pattinson’s counterpart Zendaya, who is in the middle of quite a run between the big and small screens. A two-time Emmy Award-winning Best Actress for her work as Rue in Euphoria, she has chosen roles in mostly big tent productions. From the superhero franchise Spider-Man reboot to the fantasy novel Denis Villeneuve Dune adaptations, she often has played it safe. She stepped out in 2024 with the stylish and sexy sports drama Challengers, which has made her fans since the Disney days see her as a modern leading lady.
Her role as Emma counteracts Charlie’s burgeoning mania. She knows her past, tries to downplay its current relevance, and leaves just enough mystery to propel her future husband to question everything. As the story progresses, we see flashbacks to her youth, which allows the viewers to try and understand her choices. Her charm and subtle acting enhance the story, and I hope she takes on more unique roles like this in the future.
The “A24 of it all” factor: As stated earlier, A24 attracts an incredible amount of disharmony with its viewers. If you see this film as a reflection on the current state of America, then you will most likely be enraged by Emma’s character and Charlie’s handling of the entire situation. If you view this as social commentary through the lens of a dark comedy, you’ll absolutely find yourself laughing at the absurdity of each scene, watching Charlie try to maintain his sanity. I found myself in the latter, and that is why this film worked for me. Like any other A24 film, your mileage may vary, but if you allow the main conceit to provide more questions than answers, it will be a fun ride.
MatM A24 Score: 8.0 (An ultimate “put yourself in their shoes” premise)
If The Drama is any indication of where they are heading for 2026, then I feel that A24 is still focused on their original mantra to create films with a distinct point of view. Their upcoming slate includes an Anne Hathaway psychosexual drama Mother Mary, the science fiction horror Backrooms, directed by twenty-year-old YouTube web series filmmaker Kane Parsons, and the Olivia Wilde comedy The Invite, which revolves around a couple’s stunted sex life getting a shot in the arm with a good old orgy invite. I think A24 still has its eye on the ball at this point. Stay tuned for our Spring preview, and thanks again for reading Matt at the Movies over at Y’all Weekly.
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