Anna Daniels
What if the so-called “Cannes Curse” is merely a marketing myth?
Tom Quinn, the visionary behind the indie powerhouse Neon, is not just gathering Palme d’Or accolades like a collector. He’s subtly orchestrating what may be the most ambitious strategy in awards history. Cannes, which was often dismissed in Oscar strategy discussions as too early, too foreign, too French, has transformed into a key arena for Oscar success—thanks to Quinn’s strategic maneuvers.
This isn’t merely speculation. Look at the results: five Palme winners. Two Best Picture Oscars. Four consecutive years. Boom.
Ignore Parasite. Notice the pattern.
When Bong Joon-ho’s Parasite took home both the Palme d’Or and the Oscar for Best Picture in 2019, many thought it was just a one-off—an unusual blend of class commentary, critical acclaim, and a viral acceptance speech. However, Quinn recognized it as a roadmap. Since then, Neon has backed every Palme winner: Titane, Triangle of Sadness, Anatomy of a Fall, and Anora. These films didn’t just please critics; they secured nominations for major Oscars, including Best Picture for two of them.
As Quinn stated: “I’m willing to share our strategy because it’s so clear.” Clear to him, perhaps. Meanwhile, the rest of Hollywood appears to be playing catch-up while Quinn commands Cannes like a master strategist.
The true advantage of Cannes? Timing and taste.
For years, autumn festivals—Venice, Telluride, Toronto—were viewed as the unofficial kickoff for the Oscars. They have more manageable press cycles and shorter memory spans. In contrast, Cannes was seen as a gamble: films coming out in May had to remain relevant for nearly nine months. But Quinn has reversed that perception. As he explained to Deadline, the extended period from May to March has become a strength rather than a weakness. “You can debut in Cannes and still have a presence come March,” noted festival head Thierry Frémaux.
Neon utilizes that time efficiently: conducting test screenings, gauging critical responses, and analyzing insights from over 80 awards experts. It’s not rocket science—just thorough preparation.
Palme ≠ Niche. Palme = Buzz.
The surprising truth? According to Quinn, Palme victories now serve as the key factor driving audience interest in preview screenings. Not star-studded casts. Not trailers. Not even the buzz from the festivals themselves. “Many voters… if not the majority, are also Academy members,” remarks Quinn. This positions Cannes not just as a prestigious European festival, but as a preliminary audition for Oscar’s influential voters.
And Neon’s strategy of releasing films in October? It’s a calculated move, perfectly timed to capitalize on the excitement generated from Cannes leading into peak awards season.
What’s next? Neon is set to showcase four films at Cannes 2025.
With Orwell, Splitsville, Sentimental Value, and Alpha premiering at the festival this year, Quinn shows no signs of hesitation. He’s going all in. And why wouldn’t he? His strategy is yielding results. Even Anora, which hadn’t even been screened for test audiences prior to Cannes, has emerged as a Best Picture winner.
In stark contrast, traditional studios remain plateaued, clinging to outdated Oscar playbooks and conventional prestige films. They’re still operating like it’s 2015, while Quinn is looking ahead to 2030.
Historical Resonance: The Sundance-to-Oscar Dream
In the 2000s, Sundance was the launch-off point for hits like Little Miss Sunshine, Whiplash, and Precious. However, the market became flooded and predictable. Now, Cannes offers the excitement and unpredictability that Sundance once provided—along with the critical validation. And Neon is replicating what Miramax successfully accomplished—without the legal battles.
The hard truth:
Tom Quinn didn’t just solve the Cannes-to-Oscar conundrum. He shattered the myth that international films must bide their time. The rest of the industry is now left to catch up.
Would you risk an Oscar campaign on a May launch?
Quinn would. And with five Palme d’Ors under his belt, who’s really winning?
