Over the past decade, auteur-driven powerhouse A24 has emerged as the perfect counterpoint to Marvel Studios. Whereas Marvel provides all the big-budget spectacle and franchise crossovers that blockbuster fans could hope for, A24 focuses on originality and experimentation over time-tested formulas. A24 is responsible for some of the most widely acclaimed movies of the 2010s: Ex Machina, The Witch, The Lobster, Moonlight, Lady Bird, Hereditary, Eighth Grade, Midsommar, The Farewell, Uncut Gems – the list goes on. Most recently, the studio made its first game-changing stamp on the 2020s with the multiversal madness of Everything Everywhere All at Once.
A24 is pumping out so many masterpieces that some of them inevitably fall by the wayside and struggle to attract a mainstream audience, despite universal acclaim and lucrative indie cred. Viewers tend to pick up on the genre movies – “elevated horror” films like Hereditary and sci-fi thrillers like Ex Machina – but the more people-centric dramas don’t always catch on. The Souvenir is a prime example. Written and directed by Joanna Hogg, it’s a semi-autobiographical two-parter about the ambition of filmmaking and the pitfalls of toxic romance. The lead character, Julie, is played by Honor Swinton Byrne and her mother, Rosalind, is played by the actor’s real-life mother, the great Tilda Swinton. Julie is a film student who wants to make a movie about a boy and his mother. She meets a charming older man, Anthony, played by Tom Burke, and quickly falls in love.
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Anthony moves into Julie’s flat and they briefly enjoy an idyllic honeymoon phase before the dark truths start to come out. Julie’s life comes
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