In the world of art, genius and innovation come at a cost. Brady Corbet’s latest film “The Brutalist” offers a larger-than-life lens to explore this idea with.
The film follows László Tóth, a resourceful Hungarian-Jewish architect played by Adrien Brody, who immigrates to post-war America seeking to rebuild his life.
Corbet examines the difficulties of László’s life and how an artist’s legacy can transcend the suffering they endure, even within a system that exploits and discards them.
The opening sequence alone sets the story perfectly: László arrives in America, catching a view of the statue of liberty—only Corbet shows the landmark with an ominous, upside down distortion.
The American Dream, as this film suggests, has been corrupted, portrayed as only an illusion. Even when László is presented the opportunity to work for the wealthy businessman Harrison Lee Van Buren, played devastatingly by Guy Pearce, it is under conditions that strip him of his artistry.
Despite the cruelty of László’s life, “The Brutalist” is not entirely depressing. While the film shows an unflinching portrayal of artistic exploitation, it also suggests that true artistry, even when muffled, does not disappear.
A particularly compelling moment comes when László explains why he continues to be an architect after the savagery he witnessed before leaving his country. His buildings, as he says, have survived the war and destruction. They endure.
Corbet’s decision to shoot on VistaVision cameras—a form of film not used in America since the early 1960s on the Marlon Brando vehicle “One-Eyed Jacks,” to show the film in 70mm with the inclusion of a 90-minute intermission into its three-and-a-half hour runtime—is not just stylistic; it’s addressing something deeper.
In an era of easily digestible and disposable content, “The Brutalist” dares the audience to be patient, engaged, and devoted. Perhaps it is not just about an artist’s attempt to survive capitalism—perhaps it is an act of artistic defiance simply because it exists.
Production Information:
Director: Brady Corbet
Producers: Andrew Lauren, D.J. Gugenheim
Screenplay: Brady Corbet, Mona Fastvold
Editor: Dávid Jancsó
Music: Daniel Blumberg
Distributer: A24
Runtime: 215 minutes
Budget: $9.6 million
