It’s hard to imagine a world where Josh and Benny Safdie are no longer collaborating, yet here we are, over a year since the news broke that the pair would be pursuing their own creative endeavors. The directing duo were once inseparable, having worked together since Josh’s 2008 debut feature, “The Pleasure of Being Robbed.” Over time, the Safdie Brothers rose to prominence among their contemporaries as the New York-based filmmakers struck a chord that gradually permeated pop culture, particularly with their last two features, “Good Time” and “Uncut Gems.” The Safdies are emblematic of a generation of cinephiles-turned-filmmakers molded by the influences of John Cassavetes, Martin Scorsese, Spike Lee, and a host of other East Coast artists. Their style, which has been half-heartedly imitated since the success of “Uncut Gems,” is one of a kind. It’s a hyper-frantic sensibility that not only arrests the audience but also accentuates the misguided, sleazy characters populating their stories, which are often born from a place of reality rather than fiction. Their work, equal parts intoxicating and nightmarish, possesses a tangibility absent from many filmmakers of their generation and, to a degree, even those who followed.
So when the news of the Safdies splitting up made its way to the trades, it was an announcement that took me a couple of days to process. For filmmakers who had worked together for over a decade, it felt strangely premature, as though their career as a directing duo was only just beginning. It’s like watching an NBA prospect achieve major milestones early in their career, knowing they are not even at the height of their powers. Now, in the second half of 2025, both Josh and Benny are preparing to debut their first solo features since their collaborative efforts came to a close. Both projects are centered around sports figures, anchored by major Hollywood stars, and distributed by the same studio. While some overlap was inevitable, many, including myself, wondered what a Benny Safdie film or a Josh Safdie film would look like on its own. When the Coen Brothers split, their individual contributions quickly became clear in the work that followed. It’s hard to know if Benny and Josh’s traits will prove just as easy to define, but the picture is starting to take shape as their new films approach release.
Benny, in the years since “Uncut Gems,” has solidified his reputation as a reliable character actor, working with filmmakers such as Claire Denis, Paul Thomas Anderson, and Christopher Nolan (twice). Yet his roots as a filmmaker remain intact, leading him to his biggest challenge yet: directing one of the world’s biggest stars, Dwayne “The Rock” Johnson. “The Smashing Machine,” which chronicles the life and career of UFC superstar and Hall of Famer Mark Kerr, marks a monumental moment in Johnson’s career. His brand of action-hero bankability has taken hits after a string of misfires, including “Black Adam” and “Red One,” but his ability to adapt and reinvent himself has kept him a Hollywood powerhouse. From professional wrestling to global box office dominance, Johnson has repeatedly pivoted. This time, he is surrendering his carefully constructed image to an auteur filmmaker. From early footage, Johnson appears to fully immerse himself in Kerr, embracing a raw, uncomfortable portrayal of a character who is borderline unlikable—an essential quality for a Safdie protagonist.
If Benny succeeds, “The Smashing Machine” could trigger a seismic shift in Johnson’s course, propelling him into a new era of prestigious projects. The foundation is already being laid, as Johnson is reportedly in talks with celebrated filmmakers such as Darren Aronofsky and Martin Scorsese. Whether these collaborations come to fruition remains to be seen. What makes Benny’s film even more intriguing is how its trailer sells “The Smashing Machine” as a traditional sports biopic, though it likely masks something more subversive. Considering Benny’s reverence for sports films like “Raging Bull” and “Requiem for a Heavyweight,” it’s hard to believe he would make anything conventional.
“Marty Supreme,” on the other hand, represents a very different venture. Josh’s sports “biopic” is one of A24’s largest productions to date, featuring over 140 speaking roles, according to cinematographer Darius Kondji. Early comparisons have been made to “The Wolf of Wall Street” and “Catch Me If You Can,” given Josh’s approach to the fictional story of Marty Mauser, a professional ping pong player inspired by Marty Reisman. Mauser’s pursuit of greatness, clouded by delusional self-confidence, is a recipe for disaster, the kind of trajectory tailor-made for a Safdie protagonist. While Benny both wrote and directed “The Smashing Machine,” Josh has reunited with longtime collaborator Ronald Bronstein, who co-wrote, produced, and edited “Marty Supreme.” Bronstein, a fixture in every Safdie Brothers project, could be instrumental in helping Josh retain the chaotic energy of their past decade of work, alongside composer Daniel Lopatin. The ensemble for “Marty Supreme” is equally, if not more, eclectic than “The Smashing Machine.” While Benny casts mainly former martial artists alongside Johnson and Emily Blunt, Josh has assembled an unlikely mix of talents, including Academy Award winner Gwyneth Paltrow, Grammy winner Tyler, the Creator, filmmaker Abel Ferrara, magician Penn Jillette, and “Shark Tank” host Kevin O’Leary. All of them surround Timothée Chalamet, the two-time Oscar nominee leading the film in what could be one of the boldest projects of his career.
Just as Johnson faces a career-defining test in “The Smashing Machine,” Chalamet faces his own in “Marty Supreme.” Unlike his upcoming turn as Bob Dylan, there is no IP safety net here. Instead, he is staking his momentum and cultural capital on carrying a sprawling, eccentric Safdie film. His charm, which has won over audiences through awards speeches, SNL hosting gigs, and high-profile appearances, seems ideally suited to Mauser’s charisma. Yet, in typical Safdie fashion, that charm curdles into mania, expressed through bursts of yelling and verbal chaos. Chalamet’s performance carries a metafictional edge, as Mauser’s ambition mirrors his own career trajectory. His SAG Awards speech earlier this year, rousing and earnest, felt like a moment when actor and character fused seamlessly. Everything Josh is constructing seems designed to deliver one of Chalamet’s defining performances.
While “Marty Supreme” appears to be skipping the fall festival circuit for now, audiences will soon discover what Benny has crafted with “The Smashing Machine” when it has its world premiere at the Venice Film Festival. The bigger question is whether these films will validate the brothers’ decision to go solo or reignite doubts about their split. Either way, Benny and Josh remain two of the most compelling voices in contemporary cinema, and 2025 is shaping up to be a year when the world will be talking about the Safdies like never before.
Which film are you more excited for, “Marty Supreme” or “The Smashing Machine?” Please let us know in the comments below or on Next Best Picture’s X account and check out our latest Oscar nomination predictions here.
