In an unexpected turn at the box office, the A24 documentary “You Can See Everything” has claimed the top position for the weekend of October 31 to November 1, surpassing DC’s much-anticipated “Clayface.” This achievement comes just three weeks after its release, generating considerable buzz and drawing in audiences eager to learn more about the controversial figure, Elizabeth Holmes.
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The documentary, which runs over three hours, has amassed an impressive domestic total of $63.9 million following its broader release after a limited run. This weekend alone, it brought in $10.6 million, contributing to its rise in popularity. Directed by Nathan Fielder and Lance Oppenheim, “You Can See Everything” delves into Holmes’s life in the 34 days leading up to her incarceration, providing a unique perspective on the former Theranos founder.
In contrast, “Clayface,” debuted on October 23 and stars Tom Rhys Harries as Matt Hagen, an actor who undergoes a groundbreaking treatment to mend his disfigured face. Despite its efforts, the film managed to earn $10.4 million in its second weekend, bringing its total domestic earnings to $44 million and its global tally to $83 million. Given its production budget of approximately $44 million, it appears to be on a path to profitability for DC, providing a much-needed success after the disappointing run of “Supergirl.”
The popularity of “You Can See Everything” has resonated deeply with viewers, becoming a pop culture phenomenon. Critics suggest that the documentary may be a contender for awards, sparking speculation that it could even be the first documentary to secure a nomination for Best Picture at the Oscars. The film’s success has been particularly notable considering its modest budget of around $7 million and the fact that its release was only announced a month before hitting theatres.
“Clayface,” while underperforming at the box office, had initially received some praise from audiences, which suggests that the competition with “You Can See Everything” may have swayed viewers towards the latter. The DC film’s survival in the competitive superhero genre is crucial for the studio as it looks toward future projects, particularly with a Superman sequel set to launch on July 9, 2027, helmed by James Gunn.
As both films continue to draw audiences, the film industry watches closely to see how they fare in the coming weeks. The success of the A24 documentary reflects a growing appetite for in-depth narratives that tackle real-life stories, while superhero films like “Clayface” strive to innovate within their established genres.
Both titles are currently available in theatres, allowing audiences to choose between a documentary exploring a controversial real-life figure and a fictional superhero narrative. It remains to be seen whether “You Can See Everything” can maintain its momentum at the box office or if the allure of “Clayface” will pull in additional viewers in the upcoming weeks.
This shift in audience preference illustrates a broader trend in film consumption, where documentaries have begun to carve out substantial spaces at the box office, challenging the dominance of traditional narrative films. As this dynamic continues to evolve, both the documentaries and superhero genres may need to adapt to the changing landscape of audience interest.