At the end of June, the Academy of Motion Picture Arts and Sciences is expected to extend invitations to a new class of members who meet the professional qualifications to join the most prestigious club in Hollywood. This annual membership expansion is attracting particular attention this year from theater owners — a group that hopes to see more of its colleagues included among the people who vote on Oscar nominations and winners.
Historically, the Academy’s membership has skewed toward creative professionals, including directors, writers, actors, producers, and craftspeople, as well as studio executives and technicians. While a handful of exhibitors are already members of the organization, many in the theatrical exhibition community argue that their unique perspective is underrepresented, particularly at a time when the Academy is doubling down on the importance of theatrical releases.
It’s not unusual for professional groups within Hollywood to lobby for greater recognition or inclusion in the Academy. A decades-long campaign to acknowledge casting and stunt professionals has made notable progress: a new Oscar category for casting will debut in 2026, followed by a stunt category in 2028. These milestones followed years of advocacy, member petitions, and internal deliberations among Academy governors.
Currently, the Academy is composed of 19 branches, each representing a specific discipline within the industry, with the newest Production and Technology Branch created in 2023, and the split of the animation feature and shorts in 2024. Committees within each branch are currently meeting to decide on membership recommendations in 2025 — a class that will help shape the Academy’s future leading up to its centennial celebration in 2028.
Unlike a typical guild or association, Academy membership is not open to applications. It is invitation-only, with most candidates required to secure sponsorship from two existing members within the branch they wish to join. Exceptions include Oscar nominees, who are automatically considered for membership without requiring a sponsor. The final decision rests with the Academy’s Board of Governors.
Multiple sources tell Variety that there is a considerable push to include more theater owners and exhibitors within the new class of members. “The Oscars have a new requirement for voters to watch all the movies, right? So why wouldn’t you include the group you know for certain watches everything?” says one anonymous exhibitor. “We watch everything…It’s a no-brainer.”
The Academy declined to comment.
Currently, only five exhibitors are among the Academy’s estimated 11,000 members: Richard Gelfond, CEO of IMAX Corporation (Executive Branch); Tim League, founder of Alamo Drafthouse Cinema (Executive Branch); Greg Laemmle, CEO of Laemmle Theaters (Associate Branch); and David and Patricia Keighley, both of whom hold executive roles at IMAX and belong to the Production and Technology Branch.
Notably, some of the five individuals have credentials beyond operating theaters. League, for example, is a co-founder of the indie distribution company Neon — the studio behind Oscar-winning films such as “Parasite” and “Anora” — as well as the founder of genre-focused Fantastic Fest. He is also a film producer with credits on several independent features.
Still, exhibitors say the number of members with deep roots in theatrical operations is far too small — especially at a time when the Academy is tightening its standards around theatrical release requirements.
This calendar year marks the second cycle of the Academy’s expanded theatrical release rule for best picture eligibility. Under the updated criteria, films must still complete a one-week qualifying run in one of six U.S. markets — Los Angeles, New York, San Francisco, Chicago, Miami or Atlanta — but they must also meet new standards for broader theatrical distribution. The changes were crafted following detailed analysis and consultation with distributors and exhibitors of varying sizes, aiming to protect and promote the theatrical experience in an era dominated by digital streaming.
The ripple effects most directly impact the streaming giants. In 2023, Apple announced a $1 billion annual investment in theatrically-targeted films, and Amazon committed to releasing 12 to 15 movies per year in cinemas before the updated rule change.
As the Academy reevaluates its internal structure, a central question remains: How large or influential does a theater chain need to be for its executives or operators to qualify for membership?
In the U.S., major exhibition companies include AMC Theatres, led by Adam Aron; Cinemark, helmed by Sean Gamble; and Regal Cinemas, under the leadership of Edward Acuna. Globally, industry leaders include Alejandro Ramirez Magaña of Mexico’s Cinépolis and Pavan Jain of India’s PVR INOX, both of whom oversee thousands of screens across multiple territories.
Yet the conversation doesn’t end with the industry’s most prominent players. Independent exhibitors — many of whom play a critical role in platforming indie and specialty films that often become awards contenders — are wondering whether the doors will open for them, too.
Could someone like Doreen Sayegh, owner of the nearly 100-year-old Cranford Theater in New Jersey (a five-screen cinema beloved in its community), find sponsors within the Academy? What about The Moviehouse in Millerton, New York, a longstanding cultural institution in the Hudson Valley region, founded in 1978 and currently owned by David Maltby and Chelsea Altman?
The Academy has repeatedly emphasized that a strong theatrical ecosystem is vital to the health and future of the film industry. Including more exhibitors in the conversation could be a logical next step — one that not only strengthens the Academy’s credibility but ensures that those most directly connected to moviegoers have a seat at the table.
Matt Donnelly contributed to this report.
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