The Strangest Films by A24

Below is a list of the strangest films produced or distributed by A24, known for their unconventional styles, bizarre themes, and unique artistic visuals. This report includes a synopsis of each film, its standout strange elements, critical and audience reception, and links for further reading.

Summary Table of the Weirdest Films

Film (Year)	Synopsis	Notable Strange Elements	Critical and Audience Reception
Swiss Army Man (2016)	A lonely man befriends a multifunctional corpse on a deserted island.	Absurd premise with a talking corpse and surreal powers.	Generally positive reviews (73% 🟢 on Rotten Tomatoes); niche cult following.
The Lighthouse (2019)	Two lighthouse keepers descend into madness on a remote island.	Black-and-white visuals, archaic dialogue, mythological symbolism.	Widespread critical acclaim (90% 🟢 RT); praised for strong performances and direction.
Everything Everywhere All at Once (2022)	A weary mother travels across multiverses to save the world and her family.	Chaotic blend of action and surreal comedy; bizarre alternate universes (hot dog fingers).	Huge critical and audience acclaim (93% 🟢 RT); multiple Oscar wins including Best Picture.
Under the Skin (2013)	An alien disguised as a woman preys on lonely men in Scotland.	Experimental pacing, surreal imagery, eerie soundscape.	Strong critical praise (84% 🟢 RT); divisive among audiences.
The Lobster (2015)	Singles must find a partner within 45 days or be turned into animals.	Deadpan dystopian satire; bizarre romance with rigid societal rules.	Critically acclaimed (88% 🟢 RT); Oscar-nominated for Best Original Screenplay.
Beau Is Afraid (2023)	An anxious man embarks on a surreal odyssey to visit his mother.	Bold mix of dark comedy and psychological horror; over-the-top hallucinations.	Mixed reviews (67% 🟡 RT); praised for boldness, criticized for excess; commercial failure.
Lamb (2021)	Icelandic couple raise a half-human, half-lamb child found in their barn.	Dark folklore ambiance; unsettling hybrid creature; beautiful yet eerie.	Critical praise (86% 🟢 RT); divided audience (around 61% 👍🏼 on Rotten Tomatoes).

Note: 🟢 indicates positive rating, 🟡 indicates mixed.

Swiss Army Man (2016)

Synopsis: Swiss Army Man is a surreal comedy following Hank (Paul Dano), a despondent man stranded on a deserted island who is about to end his life. At the last moment, he discovers the washed-up corpse of Manny (Daniel Radcliffe), which surprisingly moves, speaks, and exhibits bizarre powers — like propelling itself across water with farts. Hank and Manny develop an unusual friendship and begin a journey through the wilderness toward civilization, with Hank using Manny’s bizarre abilities to survive. The film blends absurd humor with emotional and philosophical moments, exploring themes of loneliness, friendship, and meaning.

Strangeness: The film’s outlandish premise — a talking, multifunctional corpse — defies traditional genre boundaries. Directed by the Daniels duo (Dan Kwan and Daniel Scheinert), the movie fuses black comedy with imaginative fantasy. Manny functions as a human Swiss Army knife — igniting fires, shooting water, and more. Its odd scenes — like using “Cotton Eye Joe” as dramatic underscore — led some Sundance viewers to walk out, though many praised it as boldly original. Variety noted, "the film wears its weirdness like a badge of honor.”

Reception: Despite its bizarre premise, Swiss Army Man received mostly positive reviews from critics (73% on Rotten Tomatoes, 64/100 on Metacritic). Critics applauded the Daniels’ inventiveness and emotional depth. Audiences were split — some admired its emotional core beneath the silliness, while others were put off by the bodily humor. Over time, it gained cult status among indie film fans.

The Lighthouse (2019)

Synopsis: The Lighthouse is a black-and-white psychological horror drama set in the 1890s. Two lighthouse keepers — Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe) — begin a four-week watch on an isolated New England island. As storms trap them, their relationship frays, leading to paranoia, hallucinations, and madness. The pair experience visions of mermaids, sea monsters, and eerie myths while contending with each other and the secrets of the lighthouse.

Strangeness: Shot in a square aspect ratio with period-specific language, the film immerses viewers in a claustrophobic nightmare. The plot merges seafaring folklore, psychological decay, and mythic symbolism (e.g., Prometheus, Proteus). Sound design — from blaring foghorns to crashing waves — intensifies the unease. Director Robert Eggers intended it as a "weird tale," and it delivers a haunting, surreal atmosphere.

Reception: The Lighthouse earned critical acclaim (90% on Rotten Tomatoes, 83/100 on Metacritic). Critics hailed its direction, performances, and cinematography (Oscar-nominated). Though cryptic and challenging, the film resonated with adventurous viewers and grossed over $18 million worldwide.

Everything Everywhere All at Once (2022)

Synopsis: A genre-bending sci-fi action dramedy, Everything Everywhere All at Once follows Evelyn Wang (Michelle Yeoh), a weary laundromat owner overwhelmed by taxes and family stress. Suddenly, she’s thrust into a multiverse-spanning battle to save all existence, tapping into the skills of her alternate selves. She navigates bizarre worlds — including one with hot dog fingers, and another where she communicates as a rock — all while confronting her estranged daughter, Joy, who manifests as a powerful antagonist.

Strangeness: The film features whiplash editing, genre mashups, and surreal visuals — from kung fu battles to existential silent rock scenes. Scenes include fights using butt plug-shaped trophies to summon powers. Directed by the Daniels, it was described as an "assault on the senses" and mixes absurdity with emotional resonance.

Reception: With 93% Rotten Tomatoes and 81/100 on Metacritic, it was both a critical and box office triumph (over $100M globally). It won 7 Oscars, including Best Picture and Best Actress for Yeoh. Critics praised its emotional themes, chaos, and originality. Audiences embraced its bold vision, cementing its place as A24’s most successful film.

Under the Skin (2013)

Synopsis: Under the Skin is an existential sci-fi drama where an alien in female form (Scarlett Johansson) seduces and traps lonely men in Scotland. Lured into dark, featureless lairs, the victims are absorbed into a black void. As the alien’s journey continues, she begins to experience human emotions, questioning her identity.

Strangeness: Many scenes were shot with hidden cameras, using unsuspecting real people. The movie’s pace is slow and almost dialogue-free, emphasizing visual storytelling and a haunting score by Mica Levi. Surreal imagery — including the black liquid trap — creates an eerie, hypnotic mood.

Reception: Critics lauded it as a bold cinematic experience (84% on Rotten Tomatoes, 83 on Metacritic). Though it failed at the box office, it gained cult status for its unique style. The Guardian and Roger Ebert's site named it one of the best films of the decade.

The Lobster (2015)

Synopsis: In a dystopian future, people must find a partner within 45 days, or they’ll be transformed into an animal of their choosing. David (Colin Farrell) is sent to a bizarre hotel where singles are forced into strange rituals. When he fails to find a match, he escapes to a group of rebellious loners, where he ironically falls in love.

Strangeness: The film blends deadpan humor, absurd logic, and brutal satire. Dialogue is deliberately flat, and characters behave with robotic awkwardness. The concept itself — animal transformation as a punishment for singleness — adds to its surreal edge. Director Yorgos Lanthimos crafts a bleakly hilarious critique of modern relationships.

Reception: Critically praised (88% RT, 82 Metacritic), The Lobster was nominated for an Oscar for Best Original Screenplay. Reviewers highlighted its originality, dry humor, and philosophical undertones. It made about $18M globally, building a strong following among fans of offbeat cinema.

Beau Is Afraid (2023)

Synopsis: Beau Is Afraid is a surreal black comedy and psychological horror from Ari Aster. It follows Beau Wasserman (Joaquin Phoenix), a paranoid man navigating an increasingly bizarre and threatening world on his way to visit his domineering mother. His odyssey involves nudists, hostile strangers, animated dream sequences, and encounters with a gigantic monster representing buried trauma.

Strangeness: This 3-hour epic is essentially a cinematic fever dream. Scenes veer wildly in tone — from cartoonish to terrifying — with absurd scenarios (e.g., giant penis monsters, repressed memories, symbolic trials). Aster pushes narrative limits, blending trauma with farce and surreal visuals.

Reception: Beau Is Afraid divided critics (67% RT, average 6.8/10). Some hailed it as a fearless artistic statement; others found it indulgent and exhausting. Box office returns were low (~$11M), but it may earn cult classic status over time, especially for fans of psychological, experimental storytelling.

Lamb (2021)

Synopsis: In rural Iceland, grieving couple Maria and Ingvar discover a newborn hybrid — half-lamb, half-human — and raise it as their child. They name it Ada and care for it lovingly, until a dark force threatens to reclaim the creature.

Strangeness: A haunting folk horror fable, Lamb centers on a surreal premise that blends domestic drama with mythology. The imagery of a child with a lamb’s head is both tender and disturbing. Minimal dialogue and a cold, naturalistic setting evoke quiet dread and mysticism.

Reception: Critics praised its originality (86% RT), slow-burn tension, and visual atmosphere. The New York Times called it “weird yet moving.” Audiences were split (61% on RT), but it remains a standout in the modern folk horror genre, alongside A24's The Witch and Midsommar.

For further details, visit each film’s official page on A24’s website or explore critical essays on sites like Variety, The Guardian, and IndieWire.