The independent studio has an unusually strong awards-season lineup, with four films emerging as potential contenders. But running multiple campaigns could stretch its resources and weaken its chances.
A24 is facing an unusual challenge this awards season: managing campaigns for four films that could all compete for a Best Picture nomination at the Academy Awards.
Since the category expanded, only a handful of studios have managed to secure three nominations in the same year. Warner Bros. achieved the feat last season with One Battle After Another, Sinners and F1, while Lionsgate had three contenders in 2017, including La La Land and Hacksaw Ridge.
For A24, the prospect of placing four films among the 10 Best Picture nominees would be a major achievement. The studio has previously secured two nominations in one year, with Past Lives and The Zone of Interest in 2024, but a four-film campaign would require a much broader awards strategy.
The studio has so far declined to identify which films will receive priority, saying the awards season is long and its plans will depend on how the race develops.
Four films, four different Oscar prospects
Olivia Wilde’s The Invite is among the studio’s early contenders. Acquired after its Sundance premiere for a reported sum exceeding $12 million, the film earned $26 million at the domestic box office following its June release. Its ensemble cast, including Penélope Cruz, Edward Norton and Wilde, could also attract attention in the acting categories, while its screenplay is seen as a potential contender.
The film gained further momentum with its strong showing in the Gotham Awards nominations, reinforcing its position as more than an early-season prediction. Its theatrical release and ensemble-driven story could also help sustain interest among Academy voters.
The most unpredictable entry is You Can See Everything, a documentary by Nathan Fielder and Lance Oppenheim. The film has rapidly become one of the season’s most talked-about titles, with some observers suggesting it could challenge major contenders such as The Odyssey.
Its unconventional approach and strong industry buzz have raised the possibility of an unprecedented Best Picture nomination for a documentary. However, its eligibility at several awards ceremonies and the potential difficulty of appealing to more traditional and international Academy voters could complicate its campaign.
Jesse Eisenberg’s The Debut has a different advantage: Julianne Moore’s widely praised lead performance. Moore is considered a strong contender for Best Actress, while Paul Giamatti could also enter the supporting actor race. The film has collected festival recognition, including an audience award at Middleburg and a prize at San Sebastian.
Its challenge will be turning individual acting recognition into broader support for a Best Picture nomination. The film is scheduled to reach cinemas in December.
Jordan Firstman’s Club Kid is perhaps the least certain of the four. Acquired by A24 after its Cannes debut, the comedy follows a gay party promoter who discovers he has a nine-year-old son. Its humour and emotional warmth have won over audiences, although its Oscar momentum has been overshadowed by the sudden rise of You Can See Everything.
The film could still regain ground as a more accessible alternative to some of the season’s more challenging contenders. Its prospects may depend on whether A24 can devote sufficient attention and resources to its campaign.
A campaign stretched across the field
The difficulty for A24 is not simply producing four films with awards potential, but sustaining their visibility throughout a costly and increasingly competitive Oscar season. Campaigning for multiple Best Picture contenders requires substantial financial resources, industry outreach and sustained attention from voters.
While The Invite, You Can See Everything and The Debut appear to have stronger positions, Club Kid remains a possible dark horse. Whether A24 can keep all four in contention will depend on how effectively the studio balances its campaigns in the months ahead.
With the Academy Awards nominations scheduled for 21 January, the studio faces a delicate decision: pursue an unprecedented four-film push or concentrate its resources on the contenders with the clearest path to a nomination.
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