Cannes 2025: How Neon took the crown for the sixth time in a row
As the saying goes, all that glitters is not gold. Neither, it appears, is neon. The Distribution Company has proved itself to have both a glamorous outward appeal and astute strategic capability after the Cannes awards ceremony. After being at the heart of so many culture-defining films, it’s official. There’s no one fighting in the film arena like Neon, let alone in the ring.
With Cannes 2025 officially over, the Neon clairvoyance is undeniable, as they bagged their sixth Cannes Palme d’Or in as many years. Previous years saw the prestigious award go to 2024’s Anora, Justine Triet’s 2023 title Anatomy of a Fall, 2022’s Triangle of Sadness, 2021’s Titane and 2019’s Parasite. What’s the secret behind the success?
Despite swiftly becoming something close to a household name for film-goers, the production and distribution company was only founded in 2017 by CEO Tom Quinn and Tim League. Though Leauge is not involved in the company any more, he was also the co-founder of the Alamo Drafthouse Cinema chain.
For proof of Neon’s triumphant production success, look straight to the most esteemed prizes in film. There are two films in existence to snag all three mighty awards, winning Best Picture at the Oscars, the Palme d’Or Award at Cannes festival, and the ‘Best Picture’ Academy Award. Neon is behind both of them. Bong Joon Ho’s 2019 black comedy thriller Parasite swept the board, as did Mikey Madison’s breakout project, 2024’s Anora.
This year, Jafar Panahi’s It Was Just an Accident was awarded the coveted Cannes prize. It follows five characters who were all tortured during their arrest as they track down the person they believe was responsible for causing them harm. However, due to being blindfolded during the torture, none can be 100 per cent sure they have successfully identified the correct individual.
Neon only picked up the rights to this tragically funny offering halfway through Cannes, scooping up the North American rights on May 22nd as a pretty prognostication of an impressive future. In a similar move in 2024, Neon picked up The Seed of the Sacred Fig from Iranian filmmaker Mohammad Rasoulof, which went on to be nominated for a BAFTA and for Best International Feature at the 97th Academy Awards.
This year in Cannes, Neon also debuted Joachim Trier’s Sentimental Value and Julia Ducournau’s Alpha in competition, and Raoul Peck’s Orwell: 2+2=5 and Michael Angelo Covino’s Splitsville starring Dakota Johnson and Adria Arjona.
Apathy is the enemy of success
How the hell are they doing it? Speaking at IndieWire‘s annual Screen Talk live podcast in Cannes, CEO Quinn shared his Awards whisperer secrets after his continued victory lap. He candidly explained his perspective on the industry: “I have a voracious appetite for incredible cinema, and I hate saying no to stuff, but we also want to do right by films.”
He reflected on the past year: “We’ve seen a lot here this year, and it reminds me of years past, where it’s a ton of challenging cinema, and you can fall on either side of what you think of these movies. We’ve had some fierce conversations internally. We don’t always agree, and when we all agree, maybe that’s the movie you don’t buy.”
There you go, then. Challenge is at the heart of everything. Challenge, at a time of recycled trends, mindless, monochrome remakes (think the new Superman colour-grading), and familiar actors cast again and again for familiar content. Apathy is the enemy for a company whose name conjures wild nights and blinding lights.
However, Quinn rather comically told of how they did join the bidding war for Robert Pattinson and Jennifer Lawrence’s Die, My Love, despite not exactly liking the film. They felt no major kind of way towards it, a clear indication of their own rules whereby only strong reactions are good ones.“We certainly fought for it, but at a reasonable level,” he said. Practice what you preach.
Though the company began in 2017, Quinn’s own journey stretches decades back. “I’ve never felt any pressure. I came here for 20 years and didn’t win a thing,” he admitted. Persistence, in an age where content shortens and slickens and attention runs at a deficit, has newly become a superpower.
Quinn’s ethos of patience translates to their production and distribution strategy as well as his personal career. He expanded on the confidence the company now has, which in part stems from “Taking your time and knowing that we can sustain a campaign for a quality film (like the ones that have won the Palme d’Or) over the course of six months, and everybody else is burning hot and bright and quick.”
However, there are cracks in their shimmering surface of success. Dave Franco and Alison Brie, have been named defendants in a lawsuit alleging copyright infringement on their upcoming body horror movie Together which was snapped up by Neon at Sundance Film Festival for $17 million. If the success of Neon stems from their ability to stretch, glorify and capitalise on challenge, then perhaps they’ll find an easy way to spin this one around, too.
