David Laub Joins Neon as SVP: Game-Changer for Awards Season and Global Film Markets
In a strategic move likely to reshape the upcoming awards season and disrupt the global art-house distribution scene, David Laub joins Neon as SVP of marketing and publicity.
The seasoned executive—best known for his curatorial brilliance at A24 and most recently as the head of Metrograph Pictures—steps into a freshly minted role, aligning with Neon’s newly named President of Global Cinema, Ryan Werner.
With this high-profile hire, Neon signals an aggressive push not just for Oscar gold, but for dominance at film markets like Cannes, AFM, and Berlinale.
A New Era of Strategic Campaigning at Neon
The announcement marks more than a staffing update—it’s a declaration of intent. Neon has built its brand on bold, prestige cinema with critical acclaim and cultural edge. The addition of Laub—whose resume includes “Aftersun,” “Lady Bird,” and “Everything Everywhere All At Once”—adds marketing firepower just in time for fall festival debuts and awards circuit positioning.
“I’m incredibly excited to join Neon, and to work closely with the team to create strong and unique campaigns for these amazing movies,”
Laub said
“I couldn’t be more thrilled or humbled to work on such bold, exciting, and brilliant movies.”
Laub’s track record isn’t just impressive—it’s a road map to gold.
His work helped elevate A24 from boutique to juggernaut, and his short but punchy stint at Metrograph yielded indie festival darlings like Good One and Happyend. With Werner calling him “strategic, curious, and experienced,” Neon clearly sees Laub as an architect for more than press kits and red carpets—they see him as the visionary to engineer a new global strategy.
What This Means for Awards Season 2025–2026
Neon has already proven its awards mettle with titles like Parasite, Spencer, and Anatomy of a Fall. But with David Laub joining Neon as SVP, the company doubles down on its ambitions just ahead of Telluride, Venice, and TIFF. His mastery of indie positioning could create Oscar buzz as early as Labor Day weekend.
Expect Laub to influence not just campaigning but acquisition strategy. As AFM (American Film Market) returns in November, and Cannes 2026 pre-sales begin next spring, insiders predict Neon will move faster, with more confidence in high-risk/high-reward titles—often where Laub thrives. His Cannes-caliber taste is likely to become central to the company’s acquisitions playbook, especially with Werner at the helm of global operations.
Berlinale and Sundance could also see intensified Neon presence, not just with premieres but with programming designed for year-long momentum—reminiscent of how Everything Everywhere All at Once grew from spring darling to Oscar sweep.
The Ripple Effect on Metrograph and NYC Film Culture
Laub’s departure also signals a pivot for Metrograph Pictures. The company issued a gracious but telling statement:
“We are thrilled for David and Neon… For the time being, we will be pausing any further theatrical releases to focus on the growth of our core businesses.”
Translation? Metrograph is pulling back from its theatrical distribution ambitions to reinforce its identity as a New York cultural institution. The pause likely reflects just how integral Laub was to their strategy. Under his leadership, Metrograph ventured boldly into the acquisitions space with curated indie and international gems. Now, its Lower East Side location and SVOD service, Metrograph At Home, become the focus.
Inge de Leeuw’s programming brilliance will anchor its two-screen venue, but without theatrical distribution, Metrograph exits the awards game for now—leaving more oxygen for players like Neon, MUBI, and Janus Films.
The Global Distribution Chessboard: Berlin, Cannes, and Beyond
With David Laub joining Neon as SVP, the company is better positioned for a global footprint. Expect to see Neon deepening relationships with European sales agents and increasing bids at key markets.
At Cannes 2026, Neon could enter as both buyer and prestige seller. Berlinale 2026 may see a stronger slate, potentially leveraging Laub’s reputation for finding emotionally resonant international titles that appeal to both jury and audiences. AFM, typically Neon’s playground for edgy, under-the-radar buys, could now become a stage for aggressive pre-sales and even prestige packaging—a shift that changes how awards-caliber films are shopped and sold.
In an industry where margins are razor thin and discovery drives dominance, Laub is Neon’s gambit to claim the intersection of buzz, quality, and campaign finesse.
From Boutique to Behemoth?
In an era where the film industry is rethinking value—from theatrical viability to SVOD economics—David Laub joining Neon as SVP is a rare example of a smart, creative, human-driven bet. It’s not just a win for Neon, but for audiences craving cinema with vision and voice. For festivals, markets, and voters, this is a signal: Neon is no longer just competing—it’s leading.
Keep your eyes on the Neon slate this fall—and your ballots ready.
