The Anna Kendrick Movie That Was “Buried” by Netflix—And Why It Deserved More Attention

Anna Kendrick, known for her versatility in both musicals like Pitch Perfect and dramatic roles in Up in the Air, made a significant leap in her career in 2023 by directing Woman of the Hour, a crime thriller based on the chilling true story of Rodney Alcala, also known as “The Dating Game Killer.” Despite strong critical acclaim, the film’s release strategy raised questions about why it wasn’t given more significant theatrical exposure, leading some to describe it as a movie “buried by the studio.”

A Bold Directorial Debut

Kendrick’s directorial debut, Woman of the Hour, is based on the real-life case of Rodney Alcala, a man who appeared on the popular 1970s television game show The Dating Game in 1978, all while being a suspected serial killer. The film follows Sheryl Bradshaw, the contestant who unknowingly interacts with Alcala on the show, and alternates between Alcala’s gruesome crimes and Bradshaw’s life in Los Angeles, culminating in their fateful meeting. Kendrick stars as Bradshaw, with Daniel Zovatto portraying Alcala.

The film premiered at the Toronto International Film Festival (TIFF) in September 2023, garnering attention for its bold direction and timely subject matter. Its exploration of the intersection of misogyny and violence resonated deeply with critics. With a strong 91% approval rating on Rotten Tomatoes, it was hailed as one of the best-rated Netflix films of 2024, with many praising Kendrick’s deft handling of the complex narrative.

A Shift in Release Strategy: From Festival to Streaming

After its successful festival premiere, Netflix acquired the distribution rights to Woman of the Hour for $11 million. However, the film’s subsequent release strategy seemed to undercut its initial buzz. Instead of a wide theatrical release, the film received a limited theatrical run on October 11, 2024, followed by a full streaming release on Netflix on October 18, 2024.

This limited theatrical release is a key aspect of why Woman of the Hour is viewed as “buried” by the studio. Netflix, known for its focus on platform exclusivity, often prioritizes its streaming platform over traditional cinema, and this strategy was evident in how the film was handled. By relegating the film to a small theater run and then swiftly pushing it onto Netflix’s streaming platform, the film’s broader cinema exposure was severely limited. This approach contrasts sharply with the typical studio push for wide distribution that accompanies critically praised films.

Studio Hesitation and Production Complexities

The film’s production history adds further weight to the idea that Woman of the Hour was undercut by studio decisions. Initially, Netflix had been involved in the project as early as May 2021, with director Chloe Okuno attached and Kendrick set to star. However, by April 2022, Netflix had pulled out, and the film was subsequently sold at the Cannes Film Festival, with Kendrick stepping in as director and producer. This shift in direction suggests a level of uncertainty from the studio about the film’s potential, which may have influenced its later treatment.

Compounding the film’s production challenges, a lawsuit filed by a producer in December 2022 accused the filmmakers of fraud and breach of contract, further complicating the narrative surrounding the movie. This legal dispute might have added to the studio’s reluctance to fully back the film, leading to a minimal promotional push during its theatrical release.

Kendrick’s Personal Involvement and Ethical Considerations

One of the most remarkable aspects of Woman of the Hour is Kendrick’s personal involvement in its sensitive subject matter. After the film’s release, Kendrick revealed that she had donated her entire salary from the project to the Rape, Abuse & Incest National Network (RAINN) and the National Center for Victims of Crime. This charitable act demonstrated her deep commitment to the film’s message, which explored not only the heinous crimes of Rodney Alcala but also the broader issue of violence against women.

It’s possible that the film’s sensitive themes and Kendrick’s charitable actions influenced Netflix’s decision to push the film toward streaming rather than aggressively promoting a theatrical release. Studios are often cautious when handling material that deals with delicate subjects, particularly when the focus is on systemic violence and the victimization of women.

A Film “Buried” by the Studio?

Despite the film’s critical success and Kendrick’s powerful directorial vision, Woman of the Hour’s limited theatrical release and quick pivot to streaming raises questions about how seriously the studio viewed its potential. Netflix’s strategy of relegating such a significant project to a narrow release, combined with the lack of an extensive marketing campaign, suggests that the film was somewhat “buried” by the studio, despite its obvious quality.

While Woman of the Hour may not have received the widespread theatrical exposure that it arguably deserved, its success on Netflix and critical acclaim show that it has found an audience. However, its muted theatrical presence, combined with the complex production history, paints a picture of a film that could have been given a much larger platform but instead was overshadowed by Netflix’s streaming-first approach.

Conclusion: A Missed Opportunity?

In the end, Woman of the Hour represents a fascinating case of a critically successful film that was never truly given the opportunity to shine in the spotlight it deserved. While it’s certainly found success in its streaming release, the question remains: could it have had a bigger cultural impact if it had received more robust theatrical promotion? Anna Kendrick’s directorial debut is undoubtedly a significant achievement, but the “buried” nature of its studio treatment shows the unpredictable nature of film distribution in the modern age.