NEW YORK & MUNICH--(BUSINESS WIRE)--May 11, 2026--
Celonis today announced that it has been named a Leader in the 2026 Gartner Magic Quadrant for Process Intelligence. Celonis was placed in the Leaders’ Quadrant, being positioned highest on the Ability to Execute axis and furthest on the Completeness of Vision axis. Prior to this recognition, Celonis was named a Leader in the Gartner Magic Quadrant for Process Mining Platforms for three consecutive years.
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“We are honored to be recognized as a Leader in the market. We owe this recognition to our customers, partners, and employees who keep pushing the boundaries of the possible,” said Alexander Rinke, co-founder and co-CEO of Celonis. “We believe this recognition confirms the importance of Celonis Process Intelligence in enabling our customers to optimize their operations and provide their Enterprise AI with the operational context it needs to succeed.”
“At Florida Crystals, we’ve learned that data and public LLMs aren’t enough for our business; Enterprise AI needs the right context to drive intelligent decisions and actions,” said Kevin Grayling, Chief Information Officer at Florida Crystals Corporation. “Celonis acts as our core intelligence layer, providing the operational context our AI agents need to do the right thing. It’s the foundation that allows us to deploy AI that drives the most value across our business.”
The Celonis Process Intelligence Platform is the foundation for Enterprise AI, empowering enterprises to turn their AI ambition into compounding and meaningful value through three critical pillars:
Operational Context: It provides the operational context Enterprise AI needs to understand and improve the business through the Process Intelligence Graph —a process-centric, dynamic, and system-agnostic digital twin of operations built using advanced object-centric process mining (OCPM) capabilities.
Strategic Deployment: It helps enterprises deploy AI strategically by identifying the most impactful use cases. With the Celonis Build Experience, businesses can analyze, design, and operate composable, AI-driven processes. Our partner ecosystem shortens time to value for customers by extending the Platform with pre-built industry-specific solutions.
Seamless Integration: It provides zero-copy, bi-directional integrations with leading data lakes using Data Core and intelligently orchestrates people, agents, and existing automations through Orchestration Engine.
“To benefit from AI, you need good data that’s well-structured, and that's where Process Intelligence and Celonis come into play,” said Julien Nauroy, Domain Leader - Process Intelligence & AI Catalyst at Renault Group. “Using object-centric process mining, we can go from having the data as it is in the original system to a well-structured model that makes sense to the AI, to be used to give more accurate answers. Ultimately, this combination of AI and Process Intelligence will be the catalyst for evolving our core processes, making them more agile and resilient.”
Learn more about howglobal enterprises are unlocking billions by building composable, AI-driven solutions with Celonis.
Notes to editors
The 2026 Gartner Magic Quadrant on Process Intelligence is available here.
Find more information on the Celonis Process Intelligence Platform here.
Gartner, Magic Quadrant for Process Intelligence, Tushar Srivastava, Marc Kerremans, David Sugden, 5 May, 2026.
Gartner and Magic Quadrant are trademarks of Gartner, Inc., and/or its affiliates.
Gartner does not endorse any company, vendor, product or service depicted in its publications, and does not advise technology users to select only those vendors with the highest ratings or other designation. Gartner publications consist of the opinions of Gartner’s business and technology insights organization and should not be construed as statements of fact. Gartner disclaims all warranties, expressed or implied, with respect to this publication, including any warranties of merchantability or fitness for a particular purpose.
About Celonis
Celonis makes processes work — for people, companies, and the planet. Powered by process mining and AI, the Celonis Process Intelligence Platform integrates process data and business context to create a living digital twin of business operations. We enable thousands of companies worldwide to understand how their business actually runs and, together with their partners, build intelligent solutions that transform and continuously improve the way they operate — unlocking billions in value.
Celonis is headquartered in Munich, Germany, and New York City, USA, with more than 20 offices worldwide.
© 2026 Celonis SE. All rights reserved. Celonis and the Celonis “droplet” logo are trademarks or registered trademarks of Celonis SE in Germany and other jurisdictions. All other product and company names are trademarks or registered trademarks of their respective owners.
Celonis is Recognized as a Leader in the 2026 Gartner® Magic Quadrant™ for Process Intelligence
Neon chief and co-founder Tom Quinn has watched the last six Palme d’Or ceremonies from the same spot: gathered with colleagues around a laptop on the breakfast tables at his Cannes hotel.
“I think we upgraded a couple years ago and connected the computer to a TV,” Quinn says. “I wouldn’t want to do it any different.”
Quinn has good reason to keep any good luck charm. In all six of those awards ceremonies, Neon has won the Palme, the prestigious top honor of the Cannes Film Festival. It’s an unparalleled streak for one of the most sought-after prizes in movies, second only to the best picture Oscar. No other studio has ever come close to anything like it.
“No one ever believes it, but we’ve never gone to Cannes thinking we were going to win the Palme d’Or,” Quinn says. “It’s been a surprise every single year.”
When the 79th Cannes Film Festival gets underway Tuesday, Neon — a 60-person company founded in 2017 — rides in as an unlikely heavyweight. It’s backing more than a quarter of the 22 films in competition for the Palme. Its odds of making it seven in a row are good. Some of the most hotly anticipated titles — including Japanese filmmaker Ryusuke Hamaguchi's “All of a Sudden,” Korean auteur Na Hong-jin's “Hope” and James Gray’s “Paper Tiger” — are Neon’s.
Altogether, the indie distributor has nine films in Cannes. All, Quinn notes, they signed on for before the films' Cannes invite.
“I hate to break it to everyone but don’t hate us for our good taste,” says Quinn. “Who’s chasing who here? Thierry (Frémaux, Cannes artistic director) is going to make up his own mind and we’re going to make up our own mind. It just so happens that we agree.”
When Frémaux announced the lineup of this year’s festival, he lamented the almost nonexistent presence of Hollywood’s major studios. “When the studios are less present in Cannes, they are less present full stop,” he said.
While studio releases like Warner Bros.’ “One Battle After Another” and Universal’s upcoming “The Odyssey” can be major Oscar players, a wide swath of the most original movies of the past decade have been released by specialty labels like Neon and A24.
Both have risen to prominence at international film festivals like Cannes and at the Oscars by focusing on filmmakers, not IP.
“It’s not rocket science and there’s nothing secret about it,” says Quinn. “It’s pursuing the directors and films we want to be a part of.”
Quinn had worked at Samuel Goldwyn Films and Magnolia Pictures before, in 2011, launching Radius, a boutique label with Harvey Weinstein. Though, at Neon, Quinn expected A24 to be his chief competition, he found himself often bidding against Netflix, on movies like Neon’s first acquisition, the Margot Robbie-led “I, Tonya” and Céline Sciamma’s “Portrait of a Lady on Fire.”
“We did not outbid them but we out-passioned them,” says Quinn.
Neon does produce films (like the upcoming “I Love Boosters”), but it largely sticks to distributing movies in North America, often with awards campaigns attached to their releases. It has boarded its Palme d’Or winners — “It Was Just an Accident,” “Anora,” “Anatomy of a Fall,” “Triangle of Sadness,” “Titane” and “Parasite” — in a variety of ways.
Some were acquired in Cannes. Some, like “Parasite,” Neon boarded at the script stage. Quinn signed up for the body horror freak-out “Titane” even though the script made no sense to him. He just believed in its writer-director Julia Ducournau. In that way, Neon is the ultimate anti-algorithm studio.
And yet faith in filmmakers and good taste have carried Neon to the greatest heights of Hollywood. Both “Parasite” and “Anora” won best picture at the Academy Awards after winning the Palme. Neon nearly swept the best international Oscar category last March, with four of the five nominees: the winning “Sentimental Value,” “Sirāt,” “The Secret Agent” and “It Was Just an Accident.”
“Parasite” famously became the first non-English-language film to win best picture — a triumph for the “1-inch-tall barrier of subtitles,” as Bong Joon Ho noted in his acceptance speech.
Neon, majority owned by Dan Friedkin’s 30West, is far from competing with studio blockbusters at the box office. (Its biggest ticket seller thus far was Osgood Perkins’ “Longlegs,” with $75 million.) But Neon has proved there’s a larger audience than many would have expected for daring, often international cinema.
They are, Quinn says, “agnostic” about where its titles come from, and the company’s small size means they can give each movie a bespoke rollout. And by the end of the year, Neon will gather its releases into a DVD box set, even though many voters don’t have DVD players anymore.
“Audiences are desperate, desperate for creativity,” Quinn says. “Films are not packaged goods. The idea that this art form that is so subjective is treated as a P & L (profit and loss statement), I don’t know how you can make good creative decisions when you’re dealing with billions of debt looming at your door.”
Neon’s slate in Cannes is typically wide-ranging. Also up for the Palme is Romanian filmmaker Cristian Mungiu’s “Fjord,” with Sebastian Stan and Renate Reinsve; Japanese auteur Hirokazu Kore-eda’s “Sheep in the Box”; and “The Unknown,” by “Anatomy of a Fall” cowriter Arthur Harari. It also has Nicolas Winding Refn’s “Her Private Hell”; Arie Esiri and Chuko Esiri’s “Clarissa” and William and David Greaves’ already lauded documentary, “Once Upon a Time in Harlem.”
Some of the movies that escaped Neon’s grasp still irk Quinn. He missed out on Kore-eda’s “Shoplifters,” the Palme winner in 2018.
“The idea that we would have won seven Palmes in a row is completely outlandish,” Quinn says. “But that’s a huge regret.”
People sit on the beach ahead of the 79th Cannes international film festival Sunday, May 10, 2026, in Cannes, southern France. (AP Photo/John Locher)
FILE - Director Julia Ducournau, center, winner of the Palme d'Or for the film "Titane" poses with Vincent Lindon, left, and Agathe Rousselle during a photo call at the 74th international film festival, Cannes, southern France, on July 17, 2021. (Photo by Vianney Le Caer/Invision/AP, File)
FILE - Writer-director Ruben Ostlund, winner of the Palme d'Or for "Triangle of Sadness," poses at the 75th international film festival, Cannes, southern France, Saturday, May 28, 2022. (Photo by Vianney Le Caer/Invision/AP, File)
FILE - Director Bong Joon Ho poses with the Palme d'Or award for the film "Parasite" at the 72nd international film festival, Cannes, southern France on May 25, 2019. (AP Photo/Petros Giannakouris, File)
FILE - Justine Triet, winner of the Palme d'Or for "Anatomy of a Fall," poses for photographers during a photo call following the awards ceremony at the 76th international film festival, Cannes, southern France, on May 27, 2023. (Photo by Vianney Le Caer/Invision/AP, File)
FILE - Sean Baker, winner of the Palme d'Or for the film "Anora," appears at the 77th international film festival, Cannes, southern France, on May 25, 2024. (Photo by Scott A Garfitt/Invision/AP, File)
FILE - Director Jafar Panahi, winner of the Palme d'Or for the film "It Was Just an Accident," appears at the awards ceremony photo call at the 78th international film festival, Cannes, southern France, on May 24, 2025. (Photo by Scott A Garfitt/Invision/AP, File)
