Metrograph said today it’s taking a beat on new theatrical releases after the head of its new Metrograph Pictures division David Laub joined Neon.
“We are thrilled for David and Neon as they continue to build their business and look forward to working with them closely, and we are grateful for everything David has done for Metrograph Pictures,” the company said in a statement.
“For the time being, we will be pausing any further theatrical releases to focus on the growth of our core businesses. Metrograph continues to reach new heights in 2025 as a true cultural center in New York – as a cinema, hospitality hub, event venue, streaming service, and publisher.”
Laub, a longtime distribution executive at A24 joined Metrograph in early 2024 to build a new slate of theatrical releases as head the new distribution label that expanded the company’s repertoire beyond its carefully curated restorations of classic films. His mandate was American independent, international and documentary features, both finished films and earlier stage, including potential financing, with a goal of up to 10 releases a year.
Early acquisitions and releases included critically acclaimed Good One from Sundance 2024 (Independent Spirit Award for Best First Screenplay for India Donaldson Gotham Independent Film Award for Breakthrough Performer for star Lily Collias); Venice Special Jury prize-winner April by Dea Kulumbegashvili; Neo Sora’s narrative film debut Happyend, which also premiered at Venice; and Ryan J. Sloan’s Cannes-premiering Gazer.
Deadline hears that a handful of other staffers who worked with Laub have been let go. Chris Ustaszewski, head of theatrical sales & distribution left months ago.
Metrograph will focus on operating its its busy Lower East Side two-screen arthouse, which has seen strong numbers under programmer Inge de Leeuw and her team. The company also operates SVOD service, Metrograph At Home.
Indie film distribution is a tough gig for smaller players with picky audiences, arthouse chains that increasingly added mainstream studio fare post-Covid, and indie slots that are often taken by major players like A24 and Neon. Metrograph Pictures had some quality films but, Deadline hears, not enought spending on marketing. Laub’s departure, we hear, came as a surprise and given the challenges of the new division the company opted for a “pause.”