Blank Check with Griffin & David · Blank Check Productions

Critical Darlings: The Secret Agent And The Increasingly International Academy

February 19, 2026·1 hr 33 min·9 clips

His grandmother, at 14, was impregnated by the son of the house; the baby looked white enough so they kept him and took him from her.

Richard Lawson and Alison Wilmore host this Critical Darlings episode about The Secret Agent and international film representation in American awards and box office. Lawson recently attended the Berlin Film Festival while recovering from a cold, describing the city's atmospheric Cold War aesthetics. The episode opens with tributes to Robert Duvall, who died at 95 after seven Oscar nominations including a win for Tender Mercies. Berlin Film Festival's jury president Wim Wenders sparked controversy by claiming films aren't political, prompting novelist Arundhati Roy to withdraw her participation. This led to Rupert Grint's memorable press conference quote when asked about fascism: "Obviously, I'm against it." The hosts contrast Berlin's political sensitivities with Cannes' openness to provocative statements and protests. The Secret Agent's awards trajectory surprises both hosts—Wilmore saw it at Cannes and liked it but didn't predict its success. The film won at the Spirit Awards despite being "prickly and tricky and esoteric," penetrating voting bodies that typically favor accessible choices. Brazilian cinema gained prominence after I'm Still Here, with activated Brazilian fan communities driving awareness. The Secret Agent made over $6 million domestically in Brazil, demonstrating these films aren't just festival products. The hosts detail how each country's Oscar submission process involves political calculation. India rejected All We Imagine is Light (their Cannes success) for a film they said "better reflects India," prioritizing representation over awards potential. France chose The Taste of Things over Anatomy of a Fall, possibly because Justine Triet criticized Macron. China increasingly submits nationalistic blockbusters like Wolf Warrior 2 rather than arthouse films, signaling independence from international approval. They expose the invisible world of popular international cinema—French sex comedies, Iranian comedies like 70-30, Chinese blockbusters playing only to diaspora audiences in American multiplexes. Market forces confine foreign films to arthouse contexts in the US, excluding broad comedies that don't translate culturally. An Iranian filmmaker described feeling pressured to showcase governmental repression for international festivals, creating uncomfortable dynamics where audiences feel self-satisfied watching suffering. The conversation maintains an analytical, insider tone examining festival politics and distribution mechanics. Both hosts demonstrate deep knowledge of international film ecosystems while questioning Western festival circuit assumptions. The discussion suits film industry professionals, international cinema enthusiasts, and awards season followers interested in the machinery behind what gets seen and recognized in America.

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