There are boutique studio hits, and then there are boutique studio hits that start behaving like actual global events. A24 now has one of the latter on its hands with “Marty Supreme,” as the film has climbed to $147 million worldwide — the biggest global theatrical haul the company has ever posted.
That total (roughly $93.2 million domestic and $53.8 million internationally) nudges past the previous standard-bearer, “Everything Everywhere All at Once,” which sat just under $145 million worldwide on the same tracking list. In other words, the studio that built its modern mythology on taste, timing, and a certain kind of chaos has now minted a new ceiling.
It’s also a reminder that A24’s $100 million club has historically been tiny, and lately, very specific: the Oscar-crowned multiverse breakout, Alex Garland’s “Civil War,” and Celine Song’s “Materialists” were the earlier modern examples cited when “Marty Supreme” first crossed nine figures globally. The newer wrinkle is that this one keeps running, expanding its footprint even as the calendar turns toward awards season and international rollouts continue.
The shape of the run has been unusually muscular for a so-called indie release. “Marty Supreme” began in limited release on December 19, 2025, and expanded wide on Christmas Day, on a scale A24 doesn’t often attempt. The film’s expansion into IMAX starting January 30 helped broaden its footprint beyond standard theatrical release, giving audiences a premium format for director Josh Safdie’s kinetic cinematography and Daniel Lopatin’s pulsing score. “Supreme’ carries a reported $70 million production budget, and that kind of price tag changes the conversation fast, even when the grosses look huge in headlines.
“Marty Supreme” hasn’t just translated into box office returns. Critics have embraced the film’s energy and lead performance, with The Playlist calling it “a breathtaking supernova of energy, electricity of laughs and drama,” and placing Timothée Chalamet’s turn as Marty Mauser at the center of what it called “one of the year’s best movies,” praising his work as “outstanding” and the movie as a “blisteringly riotous and entertaining time at the movies.”
And the Academy concurred; it’s sitting on nine nominations, including Best Picture, lead actor for Chalamet (expected to win), directing for Josh Safdie (“Uncut Gems,” “Good Time”), and a deep bench of craft mentions that stretch across casting (Jennifer Venditti), cinematography (Darius Khondji), costume design (Miyako Bellizzi), film editing (Ronald Bronstein and Safdie), production design (Jack Fisk and Adam Willis), and original screenplay (Bronstein and Safdie).
The international story is still unfolding, too. The film is set for a theatrical release in China later this year through China Film Group, with Wanda Film assisting with promotion, and a date has not yet been announced. “I can’t wait for Chinese audiences to experience ‘Marty Supreme’ and to be part of its continued journey around the world,” Chalamet wrote in a statement earlier this year.
In the end, it’s the kind of run studios keep insisting no longer exists, an original, star-forward, director-driven film that plays as both an awards contender and an actual product. A flex and proof of concept that filmmakers will point to in their like-minded pitches for the next few months at least.
Rodrigo Perez is the founder and editor-in-chief of The Playlist, which he launched in 2008. He has worked in entertainment journalism since 2000, including at MTV, and has written for SPIN, IndieWire, Pitchfork, Complex, Magnet, and various music, film, and entertainment publications over the past two decades.
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