Insane A24 Movies You Shouldn’t Skip

A24 has released a streak of films that push boundaries with audacious stories, daring visuals, and characters who spiral into unforgettable situations. If you are in the mood for stories that get under your skin and stay there, this lineup covers psychological horror, feverish thrillers, and surreal odysseys that refuse to play it safe. You will find bold directorial swings, committed performances, and moments that people still debate long after the credits. Here are fifteen that deliver the wild goods without wasting a minute.

‘Hereditary’ (2018)

Ari Aster directs a family tragedy that unravels into a chilling occult mystery centered on grief and legacy. Toni Collette leads the cast with Alex Wolff, Milly Shapiro, and Gabriel Byrne anchoring the family’s collapse. The film layers miniature-house imagery with ritual symbolism as secrets surface through cryptic notes and a hidden history. A24 backed an unsettling marketing campaign that spotlighted a shocking early twist and a slow build toward a ritualistic finale.

‘Midsommar’ (2019)

Ari Aster follows a breakup story that relocates to a remote Swedish commune where rituals occur under constant daylight. Florence Pugh plays a grieving student who travels with friends to witness a storied festival. The production shot bright pastoral ceremonies and folk costumes that conceal escalating cultural rules and obligations. A24 released a longer director’s cut that expands character dynamics and the community’s uncompromising customs.

‘The Lighthouse’ (2019)

Robert Eggers directs Robert Pattinson and Willem Dafoe as lighthouse keepers stranded on a storm-battered rock. The movie uses a square aspect ratio and monochrome cinematography to trap viewers with the pair’s fraying sanity. Period-specific language and sea lore fuel heated confrontations over rations, duty, and a forbidden beacon. A24 supported a meticulous sound design that amplifies foghorns, waves, and gulls as pressure mounts.

‘Uncut Gems’ (2019)

The Safdie Brothers follow a New York jeweler whose high-risk schemes depend on a rare Ethiopian opal. Adam Sandler plays Howard Ratner, juggling debts, a celebrity client, and a pivotal NBA playoff bet. Real locations, nonprofessional actors, and overlapping dialogue push the pace as deadlines collide. A24 coordinated a buzzy release that drew attention to Sandler’s intense dramatic turn and the film’s kinetic style.

‘Good Time’ (2017)

The Safdie Brothers track a botched bank robbery that sends one brother through a chaotic overnight rescue attempt. Robert Pattinson drives the story through neon-lit corners of Queens, emergency rooms, and a closed amusement park. Propulsive electronic music and handheld camerawork keep the focus on split-second decisions and shifting identities. A24 highlighted the film’s lean runtime and relentless momentum across festivals and theaters.

‘The Witch’ (2015)

Robert Eggers sets a Puritan family on the edge of an ominous New England forest after a dispute with their settlement. Anya Taylor-Joy stars as a daughter caught between religious fear and unexplained events involving a missing child and strange occurrences. Dialogue draws from period sources, and natural light photography creates stark interiors and twilight exteriors. A24 positioned the film as a folk horror tale built on authentic language and atmosphere.

‘The Killing of a Sacred Deer’ (2017)

Yorgos Lanthimos presents a surgeon confronted by a teenager who forces a terrible moral reckoning. Colin Farrell and Nicole Kidman lead a cast that delivers precise, formal line readings that heighten the unease. The story unfolds through clinical homes, hospital corridors, and a series of impossible choices. A24’s release emphasized the film’s mythic structure and the unnerving logic behind the boy’s demands.

‘Under the Skin’ (2013)

Jonathan Glazer follows Scarlett Johansson as a mysterious woman who prowls Scottish streets in a white van. Hidden cameras capture unscripted encounters with passersby, blending documentary texture with otherworldly set pieces. A black liquid void swallows victims while an eerie score guides the minimalist narrative. A24 introduced the film stateside, where its hybrid technique and striking imagery sparked extensive discussion.

‘Swiss Army Man’ (2016)

Dan Kwan and Daniel Scheinert tell the story of a castaway who finds an unusual companion washed ashore. Paul Dano and Daniel Radcliffe explore friendship through inventive gags, handmade props, and earnest musical themes. The film uses practical effects and choral arrangements to turn bodily functions into survival tools and communication. A24 championed the movie’s offbeat premise at festivals before giving it a wider push.

‘Green Room’ (2015)

Jeremy Saulnier traps a touring punk band in a remote club after witnessing a crime behind the stage. Anton Yelchin and Imogen Poots fight to escape as Patrick Stewart commands the violent crew outside the door. Tight hallways, improvised weapons, and real-time problem solving keep the siege grounded. A24’s rollout spotlighted practical gore effects and the film’s tense single-location structure.

‘It Comes at Night’ (2017)

Trey Edward Shults centers on two families sharing a secluded home while a deadly contagion ravages the outside world. Joel Edgerton and Kelvin Harrison Jr. navigate strict routines, quarantine protocols, and nightly patrols. The film emphasizes rules around doors, red-lit hallways, and a shared dog that roams the surrounding woods. A24 marketed the movie as a psychological survival story with limited exterior views and carefully controlled light.

‘Climax’ (2019)

Gaspar Noé stages a dance troupe’s after-rehearsal party that descends once a communal drink is spiked. Long takes showcase choreography before the space turns into a maze of strobing corridors and snowbound exits. The soundtrack features continuous music while performers drift between confession and panic. A24 brought the film to US audiences, highlighting its hybrid of performance and spiraling chaos.

‘Talk to Me’ (2023)

Danny and Michael Philippou deliver a supernatural setup involving an embalmed hand used to invite possession. Sophie Wilde leads a group of friends who film the ritual, set strict time limits, and chase virality. Rules emerge through party games, shifting boundaries, and increasingly reckless sessions. A24 amplified the film from a festival breakout to a mainstream horror success with strong word of mouth.

‘Beau Is Afraid’ (2023)

Ari Aster follows a man navigating a surreal journey to visit his mother after a missed appointment sets everything off course. Joaquin Phoenix moves through escalating episodes that mix urban paranoia, suburban secrets, and theatrical interludes. The production builds large-scale sets and intricate transitions that blur reality and fantasy. A24 supported an expansive theatrical run that encouraged multiple interpretations.

‘Tusk’ (2014)

Kevin Smith adapts a viral-style premise about a podcaster who travels to interview a recluse with unusual intentions. Justin Long and Michael Parks carry extended dialogue scenes that tilt from hospitality to captivity. Practical makeup effects and a remote mansion setting drive the transformation narrative. A24 distributed the film domestically, pushing its midnight-movie energy to genre crowds.

‘Everything Everywhere All at Once’ (2022)

Dan Kwan and Daniel Scheinert direct Michelle Yeoh as a laundromat owner pulled into a multiverse battle. Ke Huy Quan, Stephanie Hsu, and Jamie Lee Curtis round out the ensemble with multiple personas across parallel realities. The film uses fast montage editing, practical stunts, and inventive props to visualize branching timelines. A24 handled a wide theatrical rollout that grew through strong word of mouth and awards momentum.

‘The Green Knight’ (2021)

David Lowery adapts the medieval poem about Sir Gawain’s quest to face a supernatural challenger. Dev Patel stars alongside Alicia Vikander, Joel Edgerton, and Ralph Ineson in a story that blends courtly trials with eerie encounters. The production built large-scale sets and used on-location shooting for forests and moors. A24 released the film in theaters and later offered a special one-night streaming presentation.

‘Ex Machina’ (2015)

Alex Garland writes and directs a technology thriller centered on an AI housed in a remote facility. Domhnall Gleeson plays a programmer invited to conduct a test with Alicia Vikander’s humanoid creation while Oscar Isaac oversees the experiment. Minimalist interiors and glass partitions set the stage for controlled conversations and shifting power. A24 distributed the film domestically and highlighted its visual effects and intimate scale.

‘The Lobster’ (2015)

Yorgos Lanthimos presents a near-future society where singles must find partners under strict rules at an isolated hotel. Colin Farrell and Rachel Weisz lead a cast that delivers precise, deadpan dialogue across controlled environments and wooded outskirts. The story tracks surveillance procedures, matching rituals, and coded resistance. A24 handled the US release and brought the film to a wider audience after festival acclaim.

‘X’ (2022)

Ti West follows an independent film crew who rent a rural Texas property and draw the ire of their elderly hosts. Mia Goth, Jenna Ortega, Kid Cudi, and Brittany Snow navigate a shoot that spirals into nocturnal violence. The production uses period styling and grainy textures to evoke regional horror of the era. A24 launched the film theatrically as the first entry in a connected trilogy.

‘Pearl’ (2022)

Ti West returns with a prequel centered on a young woman’s hunger for stardom during a historical pandemic backdrop. Mia Goth co-writes and stars, with the story unfolding on a farm set that hides obsession and escalating acts. The film adopts saturated color and a classic melodrama tone to frame the character’s auditions and disappointments. A24 released it shortly after ‘X’ to build out the shared mythology.

‘MaXXXine’ (2024)

Ti West completes the trilogy with a story set in 1980s Los Angeles following an aspiring star’s ascent. Mia Goth leads a cast that moves through studio lots, sleazy nightlife, and crime scenes tied to a sensational investigation. The production leans into neon lighting, video-era aesthetics, and period media culture. A24 positioned the film as a capstone to the character’s journey introduced in ‘X’ and ‘Pearl’.

‘Saint Maud’ (2019)

Rose Glass writes and directs a psychological horror tale about a private nurse who becomes fixated on a patient’s salvation. Morfydd Clark and Jennifer Ehle anchor a story that tracks changing routines, whispered prayers, and encounters that blur visions with reality. The film uses confined apartments, coastal exteriors, and sharp sound cues to build unease. A24 released the film in the US after a festival run overseas.

‘Lamb’ (2021)

Valdimar Jóhannsson sets an Icelandic farming couple against the arrival of a mysterious newborn with hybrid traits. Noomi Rapace and Hilmir Snær Guðnason guide a quiet narrative punctuated by ritual, folklore hints, and stark landscapes. The production features restrained dialogue and wide shots that emphasize isolation. A24 distributed the film in North America and promoted its folk-horror elements.

‘Bodies Bodies Bodies’ (2022)

Halina Reijn directs an ensemble trapped in a mansion during a storm as a party game turns deadly. Amandla Stenberg, Maria Bakalova, Rachel Sennott, and Lee Pace play characters who argue over rules, texts, and missing friends. The story uses blackout conditions, smartphone flashlights, and sound design to track movement through the house. A24 marketed the film as a modern whodunit with social media dynamics.

‘Men’ (2022)

Alex Garland follows a widow who retreats to the English countryside and encounters a series of strange figures. Jessie Buckley leads the narrative while Rory Kinnear portrays multiple roles tied to the village. The production blends body horror imagery with rural symbols and recurring tunnels and churches. A24 released the film domestically with a campaign focused on its unsettling imagery.

‘High Life’ (2018)

Claire Denis directs a space drama about prisoners sent on a mission near a black hole. Robert Pattinson, Juliette Binoche, and Mia Goth explore confinement, medical procedures, and experiments aboard a claustrophobic ship. The film uses practical sets and measured pacing to examine survival and reproduction. A24 handled the US distribution and showcased its art-house science fiction approach.

‘Under the Silver Lake’ (2018)

David Robert Mitchell crafts a Los Angeles odyssey where a cryptic trail leads through zines, billboards, and hidden codes. Andrew Garfield plays a drifting neighbor drawn into disappearances and urban legends. The film moves through rooftops, retro clubs, and secret gatherings while referencing pop culture iconography. A24 distributed the film in the US following its festival premiere.

‘The Blackcoat’s Daughter’ (2015)

Osgood Perkins presents two timelines that converge around a secluded boarding school in winter. Kiernan Shipka, Lucy Boynton, and Emma Roberts navigate missing parents, a stranded traveler, and ominous rituals. The story emphasizes empty corridors, boiler rooms, and a persistent furnace hum. A24 released the film after a festival circuit, highlighting its slow-burn structure and wintry setting.

‘The Death of Dick Long’ (2019)

Daniel Scheinert directs a dark crime comedy about two friends who scramble to cover up a bizarre incident in small-town Alabama. Michael Abbott Jr. and Andre Hyland play bandmates whose lies spread through neighbors and police. The film uses everyday locations, local accents, and a trail of evidence that keeps circling back. A24 gave it a limited release and positioned it alongside other offbeat Southern stories.

‘Spring Breakers’ (2012)

Harmony Korine follows four college friends who fund a beach trip with a robbery and meet a local hustler named Alien. Selena Gomez, Vanessa Hudgens, Ashley Benson, and Rachel Korine move from party scenes to criminal errands under neon lighting. James Franco’s character introduces the group to firearms, rival crews, and a recording setup full of copied goods. A24’s campaign focused on the contrast between candy colors and escalating crime.

‘Enemy’ (2013)

Denis Villeneuve centers on a lecturer who spots his exact double while watching a movie and begins searching for him. Jake Gyllenhaal plays both men, whose separate relationships and habits start to overlap. The film uses recurring spider imagery, city grids, and quiet apartments to build a puzzle-like narrative. A24 handled the US release with a limited rollout that expanded on strong interest.

‘The Bling Ring’ (2013)

Sofia Coppola dramatizes the real burglary crew that targeted celebrity homes in Los Angeles. Emma Watson joins an ensemble that tracks online schedules, key duplicators, and open gates at hillside mansions. Scenes recreate walk-throughs of closets and trophy rooms where the group selects designer items. A24 released the film domestically, highlighting its use of social media posts and surveillance footage.

‘The Rover’ (2014)

David Michôd sets a pursuit across a desolate Australian outback after a robbery leaves one thief behind. Guy Pearce plays a loner tracking a stolen car while Robert Pattinson’s character reveals a link to the gang. Sparse towns, roadblocks, and abandoned mines frame barter economies and shifting loyalties. A24 distributed the film in the US and emphasized its harsh settings and practical stunt work.

‘A Most Violent Year’ (2014)

J. C. Chandor follows a heating-oil businessman navigating hijackings, audits, and union pressure during a rough winter. Oscar Isaac and Jessica Chastain lead negotiations with lenders and prosecutors while drivers fend off truck thefts. The story moves through depots, riverside terminals, and industry boardrooms as competitors test limits. A24 supported a platform release that aimed at awards consideration.

‘Room’ (2015)

Lenny Abrahamson adapts a novel about a young mother and her son living in captivity before attempting a risky escape. Brie Larson and Jacob Tremblay show daily routines inside a small space that doubles as classroom and gym. After a televised interview, the family deals with recovery steps that involve therapy and new households. A24 partnered with DirecTV for early availability before a theatrical push.

‘Krisha’ (2015)

Trey Edward Shults shoots a family reunion where a recovering relative returns and tries to keep things steady. Krisha Fairchild plays the title role in a production that uses real family members and a single house location. Long takes track kitchen prep, hallway conversations, and backyard walks as tensions surface. A24 picked up the movie after festival attention and brought it to a wider audience.

‘A Ghost Story’ (2017)

David Lowery tells a quiet story where a recently deceased musician returns to the home he shared with his partner. Casey Affleck appears under a simple sheet while Rooney Mara’s character cycles through grief and routine. Scenes witness the house’s changing tenants and timelines while the landscape morphs outside. A24 released the film with a minimalist visual campaign and distinctive poster art.

‘The Florida Project’ (2017)

Sean Baker follows children living week to week in a budget motel near a major theme park corridor. Brooklynn Prince leads a cast that includes Willem Dafoe as the manager juggling repairs and residents. The film captures summer days spent exploring parking lots, ice cream stands, and construction sites. A24 supported the project’s theatrical run after a celebrated festival premiere.

‘Zola’ (2020)

Janicza Bravo adapts a viral thread about a waitress who takes a road trip to dance at clubs and gets pulled into a scheme. Taylour Paige and Riley Keough drive a story that switches from friendly plans to coercive detours. The film uses on-screen notifications, split screens, and phone sounds to track posts and calls. A24’s campaign highlighted its internet origin and stylized approach to timelines.

‘Red Rocket’ (2021)

Sean Baker follows a former adult performer who returns to a Texas town with no money and a lot of favors to ask. Simon Rex bicycles between odd jobs and couch offers while his past work complicates new relationships. Local shops, refineries, and suburban blocks give the story a specific Gulf Coast texture. A24 released the film nationwide after a strong reception at major festivals.

‘The Souvenir’ (2019)

Joanna Hogg portrays a film student entangled with an older man whose life contains secrets and shifting stories. Honor Swinton Byrne and Tom Burke anchor scenes in shared flats, film classes, and family visits. The production uses 16mm textures and carefully staged interiors to mirror diaries and memory. A24 brought the film to US theaters and positioned it for art-house audiences.

‘The Souvenir Part II’ (2021)

Joanna Hogg continues the protagonist’s journey as she turns personal experiences into her graduation project. The narrative shows casting sessions, set builds, and editing rooms while relationships carry over from the earlier story. Scenes double back to reenact events through the character’s rewritten script. A24 handled the US distribution and connected the release to the first film’s following.

‘Waves’ (2019)

Trey Edward Shults follows a suburban family through an athletic season, a sudden crisis, and the aftermath. Kelvin Harrison Jr., Taylor Russell, and Sterling K. Brown lead a cast that shifts perspective midway. The movie uses color changes, aspect ratio shifts, and needle drops to mark emotional turns. A24 supported the release with a focus on the filmmaking style and ensemble work.

‘The Zone of Interest’ (2023)

Jonathan Glazer observes a commandant’s household that sits next to a concentration camp while daily routines proceed. Christian Friedel and Sandra Hüller move through gardens, dinners, and errands as unseen sounds fill the soundtrack. The production uses long static shots and environmental microphones rather than traditional dramatic scenes. A24 distributed the film in the US following awards recognition and international acclaim.

Share your wildest picks in the comments and tell us which A24 jaw-dropper we should add next.