REBELLER

REBELLER is the studio that’s going to bring back the auteur. If you’ve followed the outsider success of CINESTATE, then you’ve gotten a taste of what REBELLER plans to do going forward. S. Craig Zahler’s trio of modestly budgeted films—BONE TOMAHAWK, BRAWL IN CELL BLOCK 99, and DRAGGED ACROSS CONCRETE—have succeeded critically and found an audience despite the crowded streaming marketplace because he was given the freedom to make the art he wanted. Similarly, Henry Dunham’s THE STANDOFF AT SPARROW CREEK earned plaudits on the festival circuit and the film continues to find an audience with viewers looking for something more mature, something a bit different. The visions of these directors were bold and distinctive and, judging by the chatter that surrounded them, a little bit threatening: transgressive in the true sense of the word. A beacon of light offering safe harbor to those seeking a new counterculture. Given all that, it is perhaps unsurprising that traditionally minded distribution companies weren’t terribly interested in these movies. They don’t trust the audiences to show up for films that might discomfit them a bit. Into that void steps REBELLER.