“A Place in Hell” has now found a home. Neon, as announced Tuesday, will distribute Chloe Domont’s latest thriller, which stars Michelle Williams, Daisy Edgar-Jones, and Andrew Scott.
Neon will release the film in theaters as the domestic distributor, with Republic Pictures handling international distribution. “A Place in Hell” was first revealed in February 2025. “Fair Play” writer/director Domont helms her sophomore film set in the legal world. The film is billed as a “thriller following two women at a high-profile criminal law firm.” It recently wrapped production in New Jersey.
Neon is co-financing the film with MRC and Republic Pictures, with T-Street producing. Domont reunites with both Rian Johnson’s banner T-Street and MRC, which formerly funded “Fair Play.” The Neon deal for “A Place in Hell” was negotiated by Alison Cohen, Emily Thomas, and Jeff Deutchman for Neon, plus Peter McPartlin for Republic Pictures.
Neon earned its sixth consecutive Palme d’Or win at Cannes this year with Jafar Panahi’s “It Was Just an Accident,” which the company acquired at the festival. Neon’s most recent Palme d’Or winner “Anora” went on to take home five Academy Awards, including Best Picture, Best Director (Sean Baker), and Best Actress (Mikey Madison).
In addition to “A Place in Hell,” Neon will also release Joachim Trier’s Oscar hopeful “Sentimental Value,” which won the Grand Prix at Cannes 2025, as well as Kleber Mendonça Filho’s “The Secret Agent,” Julia Ducournau’s “Alpha,” Raoul Peck’s “Orwell: 2+2=5,” and Michael Angelo Covino’s “Splitsville.” All played the 2025 Cannes Film Festival.
As for fellow Neon’s “A Place in Hell” co-financier Republic Pictures, the banner has had a slew of buzzy acquisitions since being revived in 2023 under Paramount Pictures. Recent titles include Sundance Audience Award-winner “Twinless,” Oscar-nominated “September 5,” and Emmy-nominated “The Greatest Night in Pop.”
Domont’s directorial debut, the psychosexual corporate thriller “Fair Play,” saw a bidding war in 2023 after its Sundance premiere; Netflix won the distribution rights for $20 million, making it one of the biggest deals out of the festival that year.
Domont previously told IndieWire that she wants her films to “tackle subject matters that are ugly and dark, but I also want to take audiences on a ride and make it thrilling to watch.” She added, “I don’t believe that films have to be one or the other — they can be both.”