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Box-Office: ‘Obsession’ Currently #1, ‘Backrooms’ Eyes $65M Opening, and ‘The Mandalorian and Grogu’ Faces Nasty -68% Drop
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‘John Rambo’ Sets June 4, 2027 Release
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Robert De Niro Teases “At Least One More” Movie With Martin Scorsese
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Zac Efron to Star in HBO and A24’s ‘Angel Heart’ Reimagining
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August 19, 2019
3-Hour ‘Midsommar' Director's Cut Screened in NYC
August 19, 2019

This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

August 19, 2019

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Chloe Domont’s ‘A Place in Hell’ Sets December 25 Release at Neon

April 13, 2026 Jordan Ruimy

This is a sign of confidence.

Back in 2023, Netflix had a chart-topping hit with Chloe Domont’s “Fair Play,” starring Alden Ehrenreich and Phoebe Dynevor, an erotic Wall Street thriller that premiered at Sundance to raves but was soon picked up by the streamer for $20M.

Domont’s latest, titled “A Place in Hell,” set up at Neon and starring Michelle Williams, Andrew Scott, and Daisy Edgar-Jones, has just been dated for a December 25, 2026 release.

This sets up a potential awards-season run for Domont’s film, which could very well show up at the fall fests in September, although premiering this one four months before release might deter Neon from doing that.

Described as a thriller, the film has been testing very well. The consensus? Michelle Williams steals the show with a fiery, and fully villainous performance, playing a protagonist who pushes the audience’s sympathy to its limits. The film’s tone is a blend of “Gone Girl” and “Nightcrawler,” leaning into dark, morally ambiguous territory. Daisy Edgar-Jones also delivers a strong performance — especially in one intense scene with Williams that’s particularly unsettling and memorable.

Synopsis: “A cutthroat criminal defense attorney (Williams), on the verge of making partner, sees her ambitions upended when a younger lawyer (Edgar-Jones) is brought in to replace her. As rivalry escalates into a battle for control, the two women push one another to dangerous extremes.”

Neon, which mostly acquires films at prestige festivals, has only a handful of self-financed titles hitting theaters this year. Domont’s film was actually picked up not long after production had wrapped. Not counting all of their Sundance and Cannes acquisitions, Neon also has Boots Riley’s “I Love Boosters,” Chloe Okuno’s “Brides,” Osgood Perkins’ “The Young People,” amd Damian McCarthy’s “Hokum” set to hit theaters in 2026.

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