Richard Brody Presents the 2025 Brody Awards

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This is the New Yorker Radio Hour, a co-production of WNYC Studios and The New Yorker. This is the New Yorker Radio Hour.
I'm David Remnick, and it is that time of year again. It's awards season, and I'm joined by two of the New Yorker's critics, Alexandra Schwartz, co-host of our podcast, Critics at Large, and film critic Richard Brody.
We're going to talk about the past year at the movies and the prospects for the Academy Awards, but much more importantly, Richard Brody will pick the winners of the award we call the Brody. The Brodies are far more exclusive and more coveted than the Oscars, of course, though they don't have the little statue guy to go with it.
This is an annual tradition here at the New Yorker Radio Hour. Richard, how many years have we been doing the Brodies? Seven, eight.
Seven or eight years? My God. We're getting close to a decade.
It's true. Now, first, let's talk about the other award show, the Oscars.
So let's have Alex talk to The Brutalist. Why would The Brutalist be a favorite? Because you've written about it quite wonderfully for The New Yorker.
Yes, I profiled the director, Brady Corbet. I mean, it's a small movie comparatively.
It was on a $10 million budget, but it is a huge movie, both thematically and in its form. It is close to four hours when you include its 15-minute intermission.
And rather than scare away audiences, this seems to have enticed people. You know, it's an immigration story.
It's the story of a Jewish architect following World War II. So it has a lot of themes that Hollywood might like or consider certainly to be serious.
And it's really being hailed as a filmmaker's film. So...
Uh-oh. As opposed to a shoemaker's film? Well, as opposed to, you know, Brady Corbett, both in his profile to me and more generally, has talked quite a lot about how much importance he gives to creative control, to having final cut.
This was a theme of his speech at the Golden Globes where he won for Best Director, for instance. He does not wish to, you know, compromise his filmmaking ideals to make a movie that might be more palatable to studios or to audiences.
For once, Don't you want to see a director get up and say, I'm a complete compromiser. I'm absolutely compromising from the word go.
As opposed to the shy, retiring, and modest Christopher Nolan. All right.
Now, Richard, you put Francis Ford Coppola's Megalopolis as the third best movie of the year. That is not a universal.
I'm well aware of it. I think that Megalopolis has been reviewed for its publicity rather than for what's actually on screen.
That the story of Francis Ford Coppola spending $120 million of his own money and above all, the greatest Hollywood sin of all, not caring whether he gets it back, has cost that film significantly in reputation. What Oscar nomination actually surprised you the most, Richard? Dune Part II.
Okay, I'm with you on that. Dune Part II shocked me because I think it's a terrible movie.
I think it's a sludgy movie. Dune Part I at least had an impressive sandworm.
This one is, you know, an extreme close-up of a vacuum cleaner hose. And the pacing of it is...
And you can literally get that at home. The pacing is lugubrious.
The dialogue, you know, it's like written to fit into cartoon bubbles. Okay, we'll come back to some of the Oscar favorites.
But let's get into the main event here, the presentation of the Brody Awards. Our first category is Best Actor.
Alex, who was nominated? The nominees for the Brody Award for Best Actor are Adam Driver for Megalopolis, Ethan Harisi for Nickel Boys, James Matteo for The Featherweight, Glenn Powell for Hitman, and Jason Schwartzman for Between the Temples. And Richard, the winner is?

The winner is Adam Driver for Megalopolis.

Adam Driver is the actor of his generation.

He's almost like John Wayne or Cary Grant.

He is inevitably always himself.

And that, to me, is an enormous virtue,

especially in a movie like Megalopolis,

where he's playing such an extravagantly composite character, essentially a Leonardo da Vinci of urbanism. And yet, he brings a real physicality, a real command to this role, and takes this $120 million and essentially puts it on his back with the sheer force of his personality.
I have the sneaking suspicion that Timothee Chalamet is going to win for his Bob Dylan. And you're upset about it, aren't you, David? Look, he's a perfectly good actor, but he's too sweet.
He's a sweetie pie. Bob Dylan is many things, but he's not a sweetie pie.
See, I actually thought that Adrian Brody had it kind of locked up for the Oscars until this recent controversy around generative AI being used to help perfect the Hungarian accents of Adrienne Brody and Felicity Jones, who played the main couple in The Brutalist. Wait a minute.
If we went back in time and we inspected, I don't know, the Polish accent in Sophie's Choice of Meryl Streep, would we get perfect, beautiful Polish? The problem that people are having is that it's not about the perfection

or the imperfection, the fact that it was perfected

using AI. Some people say,

well, it's just using, you know,

using a tool to

augment the work of an actor, not

to replace the work of an actor. And other people are coming

in and saying, it's not fully

his performance. He can't get the Oscar.

Bunch of luddites. Okay.

Essentially, in this category, it's, you it's the brutalist versus the cutelist.

I think the cutelist is going to win.

Yeah, I think the cutelist has a very good chance.

If I have to hear one more time how in five years he learned how to play four chords,

I just, it's enough already.

I thought he was pretty good, but, you know.

Grump, grump, grump.

I'm talking about the year in movies with Richard Brody and Alex Schwartz. We'll continue in a moment.
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now a, moving on to the next category for the Brodies, the nominees for Best Actress are? Yes, they are Joanna Arno for That Feeling that the Time for Doing Something Has Passed, Maria Dizia for Christmas Eve in Miller's Point, Lea Drucker for Last Summer, Carla-Sofia Gascon for Emilia Perez, and Carol Kane for Between the Temples. And the Brody goes to...
It goes to Maria Dizia for Christmas Eve in Miller's Point, a film that relatively few people have seen, and almost everyone who's seen loves it. You don't get rid of the police.
You keep the police. Like, what are they, nuts? Huh? You get rid of the bad guys, right? The bad people.
You keep the good. Huh? That, that's the way it's always been.
And always will be. Because if not, chaos and insurrection.
— Okay, Brucey. — One actress who made the Oscars list but didn't make yours is Demi Moore, who's back with the substance.
She won the Golden Globe. It seems like she's a strong contender for Best Actress at the Oscars.
What do you think about her Oscar nomination, and why is she not on the Brodies list? I think Demi Moore is a wonderful actress, and I think part of the problem in the acting categories is that pretty much everybody is a wonderful actor or actress.

The technical level of acting now is extremely high.

They simply have a level of training that makes them virtuosi. And I think that Demi Moore is in a special category.

I think she is essentially sort of like the Joan Crawford of her generation.

She really excels in melodrama. I've felt that way ever since seeing her in St.
Elmo's Fire in the 1980s. The problem is she came of professional age in an era that made very few melodramas.
And so the best years of her life, of her professional life, were spent in something like a wilderness. When she went up to collect the Golden Globes, Demi Moore, she was not only overcome, but she said that she had been told that she was essentially not a serious actress.
I forget the phrase that she used for it. Popcorn actress.
Popcorn, that's it. So she had been diminished in some way and then given the chance to have a quote-unquote serious role.
She embodied it, she fulfilled it, and she won the award. What do you think of that narrative, Richard? I think it's a correct assessment of the industry's complete misuse of her talent over the last 30 years.
The Substance is not a popcorn movie, but I don't think it's a movie that really shows the range of her art. Now, Alex, the next award? Okay, we're getting to the big ones.
It's our third category. Richard, who are your nominees for Best Director

of the Brodies? Zia Anger for My First Film, Francis Ford Coppola for Megalopolis,

Rommel Ross for Nickel Boys, Paul Schrader for O Canada, and Tyler Taormina for Christmas Eve

in Miller's Point. And the Brody goes to? Goes to Rommel Ross for Nickel Boys.

How would you do it?

Well, I wouldn't run into the swamp.

Hot in the depths of the coast is clear,

and then hitch a ride somewhere west or north.

All right, that's how they get you.

Richard, Ramell Ross didn't even get nominated for Best Director.

Didn't even get nominated.

But this picture was really innovative, and not only for its use of point of view. What happened? What makes it innovative also makes it seem to some viewers, even in the industry, somewhat unorthodox, somewhat inherently unpopular by design.
What's distinctive about what he does in Nickel Boys is that all the dramatic sequences are filmed from the point of view of one of its main characters. Has that been done before? Oh, it's been done many times before.
In Hollywood, in a movie called Lady in the Lake, directed by Robert Montgomery in the mid-1940s. I think that's the premise of the Blair Witch Project, if I'm not mistaken.
But those films treat it like a gimmick. For Nickel Boys, it has a philosophical dimension.
And I don't use that word loosely. Rommel Ross is something of a cinematic philosopher.
We've seen many, many movies in which horrific inflictions beset the protagonist, in which the main characters suffer terrible fates at the hands of brutal overseers.

The difference in Nickel Boys is that the way that the technique is deployed by Ross and the cinematographer Joe Moffrey,

you actually feel as if you are in the minds and in the bodies of the characters.

I agree.

It's essentially history being created from within. I thought it was the most extraordinary new release I saw this year.
Now, the Academy nominated 10 films again this year for Best Picture. We've talked about a few of them, Nickel Boys, Amelia Paris, A Complete Unknown, Psy.
Let's add to that, Onora, The Brutalist, Conclave, Dune Part 2, and I'm Still Here.

Any thoughts on any of those films before we give out the last Brody, Alex? Well, you know, Anora is a movie that has been so critically beloved and I think also loved by audiences who have seen it. Sean Baker's movie about a sex worker in a Manhattan club who can get swept away in a romance question mark with the son of a Russian oligarch.
And it's been called insanely to me a Cinderella story. As I remember, Cinderella has a happy ending, but never mind.
But, you know, I just feel I loved Anora. I don't think it's going to get any Academy love.
And as we know, that's okay. We do not need the Academy to validate our feelings, critical and otherwise.
But still, you know, it hurts me a little to see it come up totally short. But that's what I'll say about that.
And I thought Anora had one of the great enigmatic closing scenes of any film I've seen in recent years. Yeah, I'd agree with that.
And one actor who's key to that scene is Yuri Borsov, who is nominated as a Best Supporting Actor. I'm rooting for him.
I think he has a shot. Forget it.
But not a big one. Yeah, I don't think.
Richard, you're a mens and mens on Anora, if I remember right. Yeah, I mean, I found Anora, you know, fairly superficially entertaining, but indeed superficially entertaining.
That's what people save me all the time. It's a relatively incurious film.
In other words, it's a film about a sex worker that has very little to say about her life as a sex worker. It's a film about a descendant of a Russian immigrant family that has nothing to say about her life as a Russian immigrant.
In other words, I don't think it's a bad setup for a movie. I think that it's done for entertainment value rather than for actual curiosity about the conflicts faced by its protagonist.
Can I say something about The Brutalist? Oh, yes, Richard. Slaughter it here on Mike.
I'm actually somewhat shocked by the enthusiasm for The Brutalist. And I get the impression that Brady Corbet is far more interested in Laszlo as a heroin addict, Ershebet as a sufferer of osteoporosis, and Shofia as someone who can't or won't speak than actually about their experiences in the Holocaust.
It's Holocaust as metaphor.

So The Brutalist is a contender at the Oscars maybe,

but not at the Brodies.

Let's get back to the nominees for the big prize of the day,

the Brody Award for Best Picture.

Okay, the nominees for Best Picture are Between the Temples, Blitz, Christmas Eve in Miller's Point,

The Feeling that the Time for Doing Something Has Passed, It's Not Me, Juror Number Two, Megalopolis, My First Film, Nickel Boys, and Oh Canada. And the Brody goes to...
Unsurprisingly, to Nickel Boys. Nickel Boys was really head and shoulders above the competition.
It's a film that I think will, you know, mark the year in history. Alex, do you agree? I love Nickel Boys.
I think it's a terrific movie, and I wish more people had seen it. I understand maybe why they didn't.
I think there's an expectation that you're going into a movie about pain and about black pain specifically, and it might be preferable to hold off on that. It has been nominated for Best Picture.
It has no chance at the Oscars. I would love to see it nominated for Best Director also, but mainly I just hope people see it.
What's going to win? Ooh, good question. I think The Brutalist has a shot.
The Brutalist or Wicked? Oh. Shut up.
I think, shut up! The Wicked might win? Wicked might win. I think there's a huge desire for cinematic- Well, I'm holding space for that.
Cin cinematic comfort food that makes a billion dollars. Ah, there's that.
There's that. Alex Schwartz, Richard Brody, as always, it's a great pleasure.
Thank you so much. You can find Richard Brody's column on film, The Front Row, and Alex's writing all at newyorker.com.
And you can hear her hosting the New Yorker podcast, Critics at Large.

That's the New Yorker Radio Hour for today.

And speaking of awards, not to brag,

but documentary short films produced by The New Yorker

have been nominated for two Academy Awards this year.

Not bad.

You can watch those films at newyorker.com.

I'm David Remnick, and that's our program for today. Hope you'll join us next week.
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