Nonprofessional Actors Are the Heart of the Movies

The New Yorker

by Richard Brody

February 25, 2026

AI-Generated Deep Dive Summary

The world of cinema is being invigorated by the rise of nonprofessional actors, as seen in this year’s Oscar-nominated films. Many leading contenders feature renowned actors alongside individuals who have little to no acting experience. This unique mix brings a fresh authenticity to performances, offering audiences a perspective that differs from uniformly skilled professional casts. For instance, Timothée Chalamet shares the screen with reality-TV star Kevin O’Leary and rapper Tyler, the Creator in *Marty Supreme*, while Michael B. Jordan acts alongside musician Miles Caton in *Sinners*. These films highlight how nonprofessionals add a raw, documentary-like quality that feels真实 and unscripted. The use of nonprofessional actors is not new to cinema but has gained renewed attention with modern casting techniques. From Will Rogers, a vaudeville performer turned actor, to Bing Crosby, who brought his singing talent to the big screen, history is filled with examples of individuals from outside the acting world contributing to film. More recently, directors like Kleber Mendonça Filho have discovered talent in unexpected places, such as Tânia Maria, a dressmaker and rug maker, who was cast in *The Secret Agent*. These nonprofessionals often bring unique skills—whether it’s public speaking, musical performance, or real-life authenticity—that enrich the storytelling. The cultural significance of this trend lies in its ability to humanize film and connect with audiences on a deeper level. By incorporating individuals from diverse walks of life, movies can authentically reflect the richness of real-world experiences. This approach also challenges traditional casting norms, offering fresh perspectives and inclusivity in an increasingly globalized industry. The inclusion of nonprofessionals in major films not only adds depth to performances but also underscores the importance of authenticity in modern cinema.

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Originally published on The New Yorker on 2/25/2026