Josh Safdie, the acclaimed filmmaker behind Uncut Gems, has unveiled his first solo project, the ambitious A24 sports comedy Marty Supreme. Starring Timothée Chalamet as a hustling 1950s table tennis prodigy, the film has already been named one of the Guardian's top films of the year, sparking awards buzz and intense discussion.
A Postwar Hustle and a Modern Parable
At 41, Safdie, previously known for his collaborations with brother Benny, has crafted a story loosely based on real-life ping-pong ace Marty Reisman. The narrative follows a New York shoe-store clerk whose relentless ambition drives him to hustle his way to international championships in London and Tokyo. With a score heavily influenced by the 1980s, the film is A24's most expensive production to date.
The supporting cast is a characterful ensemble, featuring David Mamet, Sandra Bernhard, Philippe Petit, and Tyler the Creator. In a major coup, Safdie lured Gwyneth Paltrow out of retirement to play a faded film star, Gwen, who begins an affair with Marty. Canadian entrepreneur Kevin O'Leary, aka Mr Wonderful from Shark Tank, makes his film debut as her billionaire husband, Milton.
American Dreams in Double Quotes
In a wide-ranging interview, Safdie positioned Marty as an emblem of the confidence and cockiness of postwar America, a time when the 'American dream' felt newly potent. "That an individual can change the world," Safdie reflected. "You can be anyone from anywhere and you can find glory."
He argues that the 1980s, under Reagan, saw that dream resurrected "in quote marks," birthing a postmodern era where capitalism won and the future became a revisitation of the past. "What is happening now," Safdie suggests, "is that the American dream – that quest for prosperity – is in double quote marks. And it might be even harder to achieve."
Latent Anxiety and Vampiric Capitalism
The film's roots in the literature of Saul Bellow and Philip Roth are clear, exploring the urgency of young Jewish men making their way in New York. Safdie sees a specific unrest in Jewish culture, a "nomadic" sense of constant rebuilding. "That impermanence is actually quite spiritual," he notes, "but I do think there's a latent anxiety in that lifestyle."
This theme contrasts sharply with the film's portrayal of vampiric capitalism, embodied by Milton. Safdie explains the metaphor: "A vampire is no different than someone who sucks the oil out of the planet. They're a parasite who lives off hosts." He credits O'Leary with coining the 'vampire' line, seeing him as the perfect vessel for a "cold, corporate, capitalist colonialist."
This vampirism is mirrored in Gwen's relationship with Marty. "She's trying to suck the youth out of this man and get his passion," Safdie said, linking it to a modern obsession with youth and a fear of a future where immortality disrupts life's essential narrative.
Fears of Catastrophe and the Purpose of Men
Safdie's anxieties extend beyond the screen to a palpable fear of electromagnetic catastrophe and digital oblivion. "I fear electromagnetic catastrophe and the loss of everything," he stated, explaining his preference for shooting on film. "Things shot on film they'll be able to see. That's why I shoot on film: it preserves."
The film itself is structured around a nine-month gestation period, opening with the conception of a child. This led Safdie to a stark observation about modern masculinity. "I think that men are lost," he said, "and women have a very concrete understanding of a purpose for humanity." He described the existential malaise of fatherhood, contrasting the sperm's chaotic competition with the egg's passive, planetary presence.
With its unique blend of sports hustle, historical commentary, and philosophical musing, Marty Supreme marks a bold new chapter for Josh Safdie, cementing his status as one of cinema's most distinctive and provocative voices.
