The Brutalist

American cinema at its best

The extraordinary success of The Brutalist is not something that Hollywood, or anyone else, anticipated. When it was announced for last year’s Venice Film Festival, it was regarded with a degree of interest but not much else. After all, Brady Corbet’s previous two films — The Childhood of a Leader and Vox Lux — had attracted a degree of critical attention but neither had been an awards player, let alone making any money at the box office. Auteurs can auteur, but the wider Hollywood establishment will only take them seriously if their films make some decent bank. When Chloé Zhao won Best Picture and Best Director for Nomadland, her reward was to be given hackwork on Marvel’s first major flop, Eternals: fingers crossed that her next picture, Hamnet, restores her to critical favor.

Brutalist

Does Anora deserve the backlash?

Usually, when a film wins Best Picture at the Oscars, the inevitable backlash takes years, if not decades, to come to the surface. Sometimes, it’s simply because the “wrong film” won (Crash over Brokeback Mountain, Shakespeare in Love over Saving Private Ryan), and on other occasions, it is because a film’s social or sexual politics have dated incredibly badly. (Here’s looking at you, American Beauty.) Yet after what must be the most contentious and controversial Oscar season in living memory, during which no fewer than four separate films were all tipped for glory at one point, the eventual victor ludorum, Sean Baker’s Anora, is facing a vicious and sustained assault on its credentials that is without precedent.

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The 2025 Oscars is the hardest to predict in a long time

Usually, by the time the BAFTAs — now comfortably established, along with the Golden Globes, as a dress rehearsal for the Oscars — roll around, it is fairly clear which film or films are likely to be taking gold at the Academy Awards next month. Thanks to the often frenzied behind-the-scenes lobbying and intriguing of various well-paid publicists, a storyline will emerge, and it is only in relatively rare cases that there will be a genuine surprise on the night. After all, nobody wants to spend a fortune on promoting (or celebrating) a lost cause. This year, however, is wildly unpredictable, and in fact is the first occasion since 2019 that it’s genuinely difficult to know which film is going to be triumphant.

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No sign of a clear front-runner at this year’s Oscars

This year’s Oscar nominations were always going to be more low-key than usual, overshadowed as they inevitably have been both by the fires in Los Angeles — which has led to repeated delays in their announcement — and by Donald Trump’s inauguration, the after-effects of which are still rippling in Hollywood circles days later. It was therefore amusing to see that The Apprentice, the highly controversial biopic of the young Trump, has been Oscar-nominated for two of its actors, Sebastian Stan as Trump and the much-admired Jeremy Strong as his mentor Roy Cohn. Strong faces quite a challenge in the Best Supporting Actor from, among others, his Succession co-star Kieran Culkin, who is widely tipped to win for his performance in A Real Pain.

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The 2025 Golden Globes were an interim awards

Regardless of what you made of the winners, 2024’s Golden Globes ceremony has gone down in infamy as one of the very worst in its history, entirely due to its terrible host Jo Koy. He was justly ridiculed for his incompetent, weirdly aggressive hosting style, and so the onus was on this year’s compère Nikki Glazer to bring basic professionalism back to the event as much as humor and slickness.

This month in culture: December 2024

Star Wars: Skeleton Crew Disney+, December 3 Of the making of Star Wars, there appears to be no end. This one, though, looks different. The characters are a group of children on an Amblin Entertainment-style adventure, a coming-of-age story as they try to make their way back home across the universe after something goes wrong on their home planet. The trailer gives strong Spielberg/E.T./Goonies vibes. Taking place around the same time as The Mandalorian, it rounds out its cast with Jude Law as a “new kind of Jedi,” according to the creators. — Zack Christenson Nightbitch In theaters December 6 Based on Rachel Yoder’s hit horror-comedy novel of the same title: Amy Adams stars as an artist turned stay-at-home mom who learns that domesticity contains multitudes.

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