Why A24 Films Like 'You Can See Everything' Face Long Delays Before International Release

For audiences outside the United States, the anticipation for an A24 film can be a drawn-out affair. By the time titles like You Can See Everything, the documentary by Nathan Fielder and Lance Oppenheim about Elizabeth Holmes, arrive in local cinemas, reviews may have been public for months, social media abuzz with memes, and American fans already dissecting the ending. This film, which has grossed an estimated $45.1 million in North America within two weeks, is yet to premiere elsewhere. While Australian, New Zealand, and British audiences can expect it in November, many other regions, including the UAE, are still awaiting a release date.

The staggered international rollout stems from the complex world of film distribution. Each country typically involves different distribution companies, each with its own financial considerations, marketing strategies, and release schedules. While A24's domestic success can bolster confidence among overseas buyers, securing distribution rights and executing a local campaign requires a distinct business assessment.

In numerous international markets, A24 licenses distribution rights to local companies. These partners then manage the local release, promotion, and associated costs, providing A24 with revenue while offloading the release expenses. The specifics of these partnerships can vary significantly, as seen in recent Middle East deals. For instance, Front Row acquired regional rights for The Smashing Machine, while Sony secured international rights for Materialists and Bring Her Back, and previously for Beau Is Afraid in the Middle East. Vox Cinemas has also engaged in direct distribution with A24, acting as the UAE distributor for films like Marty Supreme and Backrooms.

Occasionally, A24 handles distribution directly. The acclaimed Australian horror film Talk to Me was sold internationally by Bankside Films, which brokered separate deals with A24 for North America and Front Row for the Middle East. Consequently, the A24 logo on a trailer offers less insight into a film's international release timeline than one might assume.

While simultaneous global releases are uncommon, they do occur. Kane Parsons' horror film Backrooms premiered in the UAE a day before its US release, and The Smashing Machine opened in UAE cinemas concurrently with its American debut. Furthermore, A24 has entered into multi-film agreements, such as the partnership announced by Nordisk Film in February last year, covering six A24 titles across Denmark, Sweden, Norway, and Finland, including Warfare, Eddington, and Marty Supreme. In some territories, including Britain and Australia, A24 manages releases independently.

However, acquiring rights and securing cinema placements are distinct processes. Distributors require adequate time to develop marketing campaigns and navigate crowded release schedules. For You Can See Everything, the tight turnaround following its surprise premiere was cited by Variety as a potential reason for its delayed international release. A24 did not comment on its distribution strategy to the publication.

Release delays can also reflect a distributor's strategic assessment of a film's market potential and optimal release timing. A film like Backrooms, with a pre-existing global fanbase from its YouTube origins, presents a more straightforward commercial proposition than a documentary building momentum through word-of-mouth. While a dedicated fanbase is advantageous, it doesn't guarantee success for every film.

Data from A24 indicates that approximately 70% of the audience for You Can See Everything's US opening weekend was under 35, with a similar percentage citing Nathan Fielder as a primary draw. This demographic appeal is crucial, but its translation into revenue in different markets requires careful estimation by distributors, balanced against rights fees and release costs. The risk involved is exemplified by The Smashing Machine, which had a reported production budget of $49 million and grossed around $21.1 million worldwide. Variety reported last October that A24 had reduced its international financial exposure by selling foreign rights, with rival executives suggesting overseas partners would absorb the majority of potential losses.

Conversely, successes like Celine Song's Materialists demonstrate the international potential, earning over $100 million globally, with a substantial portion from outside North America. Despite these varying outcomes, A24 films can achieve significant international success, making each distribution deal a unique financial calculation.

Concerns about audience retention due to lengthy waits have been voiced by distributors. For example, Everything Everywhere All at Once reached French cinemas over five months after its US debut. Tristan Dulaz of Originals Factory noted that piracy had impacted potential admissions, attributing delays partly to A24's negotiation tactics, though he acknowledged recent progress. Local distribution choices also play a role; Originals Factory opted for a late-summer release in France to secure a better slot.

The timing of American digital releases can further complicate international cinema rollouts. British previews for Robert Pattinson's Primetime were scheduled to begin just days before its US video-on-demand release, creating a scenario where viewers in one country might access a film at home while others are still awaiting its theatrical debut.

Regarding You Can See Everything's potential release in the UAE, Sony Pictures Worldwide Acquisitions holds the Middle East rights, as reported by Deadline. This acquisition also covers Primetime. However, no UAE cinema dates have been announced for either film. Recent releases illustrate the variability in wait times, even with the same local distributor; Vox's UAE release of Marty Supreme occurred months after its US debut, while Backrooms launched simultaneously. The acquisition by Sony provides a pathway for both You Can See Everything and Primetime to reach the region, pending a local release announcement detailing when and where audiences can view them.