Split Decision: "The Brutalist"

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, Nick Taylor and Abe Friedtanzer discuss The Brutalist...

NICK TAYLOR: Hi Abe! I hope the cinematic year of 2024 and the numerical year of 2025 have been treating you well! Today we’re here to talk about The Brutalist, which is one of my favorite films from 2024 and one of the most nominated films at this year’s Oscars. Because this is the Split Decision series, I’m gonna guess you are not a fan of this film, or you’re at least more ambivalent about it than I am. But an object this self-consciously huge deserves to be argued about, and I would love for you to start us off by sharing what you think of The Brutalist.

ABE FRIEDTANZER: Hey Nick! I will say that I didn’t hate this film, and even found much to admire about it. I saw it at a morning press screening at the Toronto International Film Festival back in September, so early enough to not have heard much about it and to be able to fully appreciate it. I knew very little of the story, and so naturally my interest was piqued. As soon as the film ended, I wanted to research the true story, only to find out that its events were invented. I had seen Brady Corbet’s previous film Vox Lux (which I hated with a passion) as well as The Sleepwalker (directed by Mona Fastvold with a screenplay by her and Corbet, a role reversal of their duties on this film), which I liked much more. From what I could find, and have been able to since, it doesn’t seem like either of them are Jewish or have any Jewish heritage. Those two factors have irreversibly impacted my perception of the film and made it hard to truly process it in a positive way...

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Split Decision: “Dune: Part Two”

In the Split Decision series, two of our writers face off on an Oscar-nominated movie one loves and the other doesn't. Today, Cláudio Alves and Lynn Lee discuss Dune: Part Two...

CLÁUDIO ALVES: As far as the Best Picture Oscar race is concerned, sequels are quite the rarity. Early year releases are even rarer. Yet, Dune: Part Two made it into the Academy's top ten, scoring four additional nominations - Cinematography, Production Design, Visual Effects, and Sound. Sure, by this metric, it pales in comparison to Part One, with its double-digit nods and six wins. But it's still a remarkable achievement. To be honest, I had a much better time with the sequel than with its predecessor. Part of it concerns a better grasp of what Villeneuve is doing in his adaptation of Frank Herbert's magnum opus, observing people as grains of sand in the winds of an imagined history rather than as characters. It's about the tragedy of going beyond personhood and the labor of building mythos and monuments, which results in a cold, mural-like cinematic experience that feels more coherent than its first chapter made it seem. In its alienation, I saw a purpose I didn't find in 2021.

I gather you had a different experience, Lynn. How does Dune: Part Two compare to Part One in your book?

LYNN LEE: It's funny, Cláudio - I completely agree with your assessment of what Part Two is doing, only to have the exact opposite response! To be clear, I don't hate or even dislike the film.  Quite the contrary.  I admire Villeneuve's craftsmanship and commitment to his (and I think Herbert's, though I haven't read the books) vision of Dune as ur-myth.  However, its coldness...what can I say?...left me cold.  Its alienation alienated me…

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Split Decision: “Anora”

Come celebrate Valentine’s Day with the season’s most talked about love story gone wrong. It’s time to discuss Anora in the Split Decision series. Abe Friedtanzer and Juan Carlos Ojano disagree over the merits of this Oscar frontrunner…

ABE FRIEDTANZER: We're starting this conversation one day after one of my favorite films of 2024, Anora, won the Critics Choice Award for Best Picture and nothing else. As you may imagine, I think there's plenty to celebrate about it, and it's a bit strange that it won ONLY the top prize. But it is good to see it back in the awards race after picking up so many critics' prizes and then sort of fading into third or fourth position in most races (like Best Actress). I tried and failed to see Anora at TIFF and then did end up seeing it a few weeks later at a press screening in LA and was quite impressed…

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Oscar Volleys: “Wicked” is the one to beat in Best Costume Design

The Oscar Volleys are back for some post-nomination talks. Tonight, Cláudio Alves and Nick Taylor discuss Best Costume Design...

WICKED | © Universal Pictures

CLÁUDIO: Let me repeat an exercise of Oscar volleys past and dream up an outfit that combines the year's Best Costume Design nominees - Melissa McCarthy and Brian Tyree Henry style. You can picture me in ecclesiastical garb like the blasphemous queen I am, adorned with Denzel Washington's bling from Gladiator II. Over my shoulders, there's Count Orlok's furry robe - after a thorough dry cleaning - and Bob Dylan's stylish 60s shades hide my eyes from mere mortals. And then, I'll pull up those Catholic skirts and reveal the Fiyero boots because Jonathan Bailey can't have all the fun. He's free to try to come and get them back. Please do, Johnny!

What about you, dear Nick? What's your outfit like?

NICK: That’s a ravishing question. We start with Elphaba’s iconic black hat. Sewn into Tazewell’s architectural embellishments would be various prizes from my victories in the gladiator ring like arrowheads and human bones, or maybe the gold-leaf crown would be the rim of the hat. We gotta wear one of Joan Baez’s floral-patterned dresses - the deep blue number might be fun, and I bet she was wearing some really comfy shoes. For Conclave, keep it simple and classy with Sister Agnes’ cross, maybe have some robes in the back in case it’s cold.  I’m struggling what to do for Nosferatu, because I also want Orlok’s coat, and because so many of Ellen’s outfits don’t really make sense on top of what I’ve already selected. Maybe I’ll weave her sad lilies into my hair? The vibe is very “Pagan Sarah Carpenter”, but I’m for it…

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Split Decision: "A Real Pain"

Split Decision returns to TFE. In this series two of our writers face off on a movie one loves and the other doesn't. Today, Eric Blume and Cláudio Alves discuss the season's Supporting Actor frontrunner and Original Screenplay nominee, A Real Pain...

ERIC BLUME: I'm thrilled to discuss one of my very favorite movies of the year, A Real Pain, with you.  I think Jesse Eisenberg made a major film with huge ideas, packed in a tight, 90-minute breezy package:  something we almost *never* see nowadays.  I think it's thematically rich, briskly paced, surprising, and most interesting, light and deep at the same time.  Where do you stand on the picture? 

CLÁUDIO ALVES: While I like A Real Pain, I wouldn't call it a major film by any metric, shape, or form…

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