David Remnick is joined by Alexandra Schwartz, the co-host of the podcast Critics at Large, and The New Yorker’s august film critic Richard Brody. They talk about the past year in film and predict the victors of the Academy Awards. Brody dismisses “The Brutalist”—a film that merely uses the Holocaust “as metaphor”—and tells Remnick that “Wicked” might win Best Picture. “I think there’s a huge desire for cinematic comfort food that makes a billion dollars.” Continuing the Radio Hour’s annual tradition, Brody discusses nominees and selects the winners of the coveted award that we call The Brody.
Full Episode
From the online spectacle around Leo XIV's election to our favorite on-screen cardinals. This week on Critics at Large, we're talking all things Pope.
The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.
I'm Vincent Cunningham. Join me and my co-hosts for an episode on what can only be described as Pope Week. New episodes of Critics at Large drop every Thursday. Find us wherever you get your podcasts.
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 Corbett. 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.
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