Smashing Machine to Marty Supreme: The Safdie Brothers Movies, Ranked

Fans of more recent Safdie movies (or sports docs like the magnificent Hoop Dreams) should consider going back to check out the brothers’ 2013 documentary on Lenny Cooke, a hugely promising college basketball player who, for various reasons, got passed on in the 2002 NBA draft.

The doc, a touching but gritty study of unrealised potential, hits on a lot of the themes the brothers would later explore in movies like The Smashing Machine and Uncut Gems. 

Having collaborated on short films together since their late teens, the brothers released their first feature in 2008, when Josh (who wrote and directed) was 23-years old and Benny (who edited) was just 22. Like any good debut, The Pleasure of Being Robbed offers fans a wonderful opportunity to see the raw expression of their talents—Josh’s in particular, who also appears in the film in a supporting role.

The story follows a kleptomaniac (played by Eleonare Hendricks, an actress who went on to appear in other indie gems by Jesse Eisenberg and Chloé Zhao) who attempts to break her cycle of bad behaviour by leaving New York—but naturally, like many a Safdie protagonist after her, it doesn’t quite go according to plan.

Given the bad press around The Smashing Machine’s release, it’s hard to say what the film’s legacy will be at this point. I do, however, think that Benny’s first solo outing as director will eventually find a loyal audience—even if it fails to return a profit. This is a film that goes against the grain of what we expect from an underdog sports movie (imagine The Wrestler as a downbeat synth opera, mostly set in Japan), so it’s probably no surprise that it left most viewers a little cold.

I do, however, still recommend seeing it, especially for the chance to see The Rock giving such a genuinely vulnerable performance. It speaks to the strength of their artistic bond that the director and star have already signed on for another project.

I first discovered Heaven Knows What when I was trying to find some hidden gems for a yearly wrap-up piece in 2014—and of course, it blew my mind. Here were two directors in their late 20s making a film about a recovering addict, written by, based on and starring the woman herself. It was also shot by NY indie godfather Shawn Price Williams and scored by Ariel Pink—meaning it looked and sounded incredible.

If you’ve never seen an early Safdie movie, this is a great place to start—especially if you like the raw, youthful style of films like Kids and The Florida Project. 

Though both brothers had worked on Pleasures of Being Robbed and Lenny Cooke, Daddy Longlegs is arguably the first true “Safdie Brothers film”, as it was the first time that the brothers both wrote and directed together. The subject matter also makes it their most personal work: the semi-autobiographical story focuses on the relationship between a divorced projectionist and his two sons—imagine a Safdie version of Paper Moon or Kramer vs. Kramer, and you’ll know what kind of vibe to expect.

The casting is typically impressive: Lee Ronaldo of Sonic Youth’s two sons stand in for the directors themselves, while Abel Ferrara, a legendary New York director and the Safdies’ most enduring influence, appears in a small role.

For all the brothers’ achievements before Good Time, that film’s ecstatically received premiere at the 2017 Cannes Film Festival felt like a true arrival. This was their first time working with an established star, Robert Pattinson, and their first time collaborating with Oneotrix Point Never, the idiosyncratic analogue synth composer whose sound is now synonymous with the directors’ work—and if you appreciate the electronic scores in movies like Under the Skin and The Social Network, just wait till you get a load of this one.

The story follows two brothers (played by Pattinson and Benny) through a typically manic narrative involving a bank robbery, a bag of cash, and a Sprite bottle filled with liquid LSD. Imagine the energy and colours of Spring Breakers told through the lens of a Michael Mann heist movie, and you’ll have some idea of what you’re in for. 

If you’ve been on the World Wide Web, or at least the film-specific corners of it, in the last few weeks, you’ve probably already heard of Marty Supreme. This is Josh’s first solo effort since the brothers parted ways. It’s also currently rolling out one of the best marketing campaigns in recent history, including a bizarre Zoom call meeting, a bright orange blimp, and one of the most sought-after garments of 2025.

Thankfully, the movie itself, which stars Timothee Chalamet as a wannabe professional table tennis player in the 1950s, is an absolute blast—a film that blends the breakneck style of Uncut Gems with the propulsive sports narrative of Guadagnino’s Challengers.

If Uncut Gems ends up being the last film that the Safdie brothers ever make together, it will stand as a perfect example of the best parts of their unique talents: Benny’s wonderfully dreamy, occasionally cosmic approach, and Josh’s anxiety-inducing energy and clear talent for stringing an audience along. 

The film stars Adam Sandler as a gambling addict attempting to line up the perfect parlay, but it’s the detail of the character’s world (the story is set in New York’s diamond district) that really makes the film pop. Check it out if you love Sandler (especially his dramatic turns in movies like Punch-Drunk Love) or the movies of Abel Ferrara (especially Bad Lieutenant). And if you haven’t seen either of them, don’t worry, just go watch it!