Richard Brody

Richard Brody, a seasoned film critic at The New Yorker, dives deep into the evolution of auteur theory from its French origins to its modern significance. He explores how directors like Spike Lee have shaped their unique voices amidst Hollywood's creative constraints. The conversation highlights the tension between artistic vision and commercial pressures, punctuated by Lee's upcoming film 'Highest to Lowest.' Brody emphasizes that in great films, style and substance are inseparable, inviting listeners to rethink their viewing experience.

Richard Brody, The New Yorker’s film critic known for his annual Brody Awards, joins Alexandra Schwartz, co-host of Critics at Large. They dive into the latest cinematic trends, critiquing films like 'The Brutalist' and discussing why 'Wicked' could nab Best Picture. Brody emphasizes the desire for comfort food in cinema, while predicting the 2025 Brody Awards winners. Their analysis of performance nuances and generative AI’s role in acting sparks engaging debate around the evolving landscape of film.

Richard Brody, a keen film critic known for his annual Brody Awards, and Alexandra Schwartz, New Yorker film writer and podcast co-host, debate the year’s standout films. They skewer overrated picks, champion underrated gems, and award Sinners, Tessa Thompson, Michael B. Jordan, and Kelly Reichardt. Short, opinionated takes on awards rules, casting recognition, and films that slipped under the radar.

In this insightful discussion, film critic Richard Brody shares his expertise on Clint Eastwood's storied career. He highlights three standout films: the thriller 'Play Misty for Me', the jazz-infused biopic 'Bird', and the gripping 'Sully'. Brody examines Eastwood's evolution as a filmmaker and his quest for creative independence, emphasizing how his works reflect complex themes like morality and personal responsibility. With sharp storytelling and a jazz-inspired direction, Eastwood's legacy endures as a cinematic icon.

A panel of critics and programmers discuss French film critic Serge Daney's politically driven analysis and radical enthusiasms of the 1970s. They explore the relation between mise-en-scène and moral perspective, the cinema as an antidote to advertising, and the critic's role as an ally to filmmakers. They also discuss Selchine's legacy in cinema, Sajdani's journey as a filmmaker, and the insights into the mind of Cérgé. Additionally, they delve into the evolution of writing style and perspective, as well as the process of selecting films for the program.