BRAT,” “Anora” and More: A 2024 Recap of Noah’s Reviews
By most accounts, 2024 was a disappointing year, whether about the presidential election, or Israel or the election again. So, I’m going to do what I do best: talk about music and movies for a while, then shut up for the rest of the year. Let’s talk shop.
“BRAT” became a central uniter worldwide that led all “angels” to really dig deep down and find what makes them “so Julia.” The term became a one-word anthem for any bratter looking to release their bratiness to the public brat—all because a young Charli XCX wanted to see the world go back to brat. As my “brat” friend, Cameron Brown ’26 of Tulane University declares, “It’s confrontational. It’s honest. It’s about having a good time but maybe to drown out your problems. It’s about, you know, being bold and being intrusive.” The album itself is just as moving as the movement. It’s a loud, obtrusive wall of sound running for over an hour and a half if you include the bonus tracks and remix album, which I do along with thousands of “angels” who I met at Miss XCX’s Glasgow arena show last week. Rarely have I seen so many people collectively hoot, holler and heckle for someone dancing in the baggiest jeans and thickly framed sunglasses (last time was when my uncle was late for the Labor Day barbecue). Brat served to define a year of empowerment in the face of crippling emotional forces.
In a simple twist of fate, the year’s two most impactful movies (for me) served their own dose of “brat” energy. “Anora,” which I have discussed in a previous review, exuded the same spirit of nearly hopeless yet undying ambition that “BRAT” follows. The exhausting story of a sex worker finding the supposed “love of her life” in the son of a Russian oligarch was nothing short of devastating, leaving the impression of manic sleep deprivation and distrust in your own emotions. It is a fitting theme for the year: we did it, we lived through it, we did not like it all too much… now we must keep living.
et, where “Anora” deprives, “Challengers” fuels. The surprise summer blockbuster came (several times) from the operatic mind of Luca Guadagnino, who created a movie of constant sexual energy that riles up uncertainty within personal ambition, physical strength, sexual curiosity and churros. Oh also, it is about tennis, I forgot to mention that.
Besides the big stuff, there were plenty of smaller spouts of great art. Adrianne Lenker wrote and recorded the year’s best album, “Bright Future,” her more rustic follow-up to 2020’s “songs.” With accompanying fiddle and reedy harmonies, “Bright Future” makes happiness out of sadness, finding what makes love to cause evil and why the most important people sometimes leave your life forever. “Sadness as a Gift” earns my award for best song of the year. The catchy melody in the chorus and bouncy rhythm guitar throughout envelop the listener with a chilly hug of hay bales and dirt. It is a song about wanting to say all you can but finding that time has rendered you lonely and without answers.
Lastly, I’ll recommend one book. My and most people’s book of the year is Kristin Hannah’s “The Women,” a tale of a young nurse who enlists during the Vietnam War only to find that her dreams of honor and freedom were nothing more than fables. Like everything else I have discussed, it is not a very uplifting novel, but one that does leave an important shred of hope for the future. The reader sees the protagonist, Frankie, at only her lowest moments only to watch her constantly work back up to earn her own worth. Like Sisyphus, it is a never-ending uphill battle against the patriarchy, suicidal depression, war and grief So, be sure to ask for the book wrapped in a pretty bow come Christmas morning.
That’s all for me. I have had a tiresome year of travel, tantrums, and unfulfilling writing, but I am thrilled that we have all made it this far. Thank you all for reading this year and stay safe during the break.