Brady Corbet (The Childhood of a Leader, Vox Lux) directs this screenplay he co-wrote with Mona Fastvold about Hungarian-Jewish Holocaust survivor and visionary architect László Tóth (Adrian Brody), who flees Europe in 1947 to immigrate to the U.S. Once there, his life becomes entwined with a wealthy client, industrialist Harrison Lee Van Buren Sr. (Guy Pearce) and his son Harry Lee (Joe Alwyn). Later, he’s reunited with his wife, Erzsébet (Felicity Jones), who was left in Europe after the war. (three hours and 34 min.)
Glen: Epic in scope and rich with symbolism, The Brutalist feels like an instant classic—a film that will endure. Focused mainly on one character, Tóth, the film explores antisemitism and Zionism, classism, capitalism, the perversion of the American Dream, addiction, and—obviously—modernist architecture, art, and design. It feels like a biopic, but this is a masterful work of fiction. The film deservedly won best drama and best director at the Golden Globes, and Brody won best actor. It’s also garnered 10 Oscar nominations. Despite its long runtime that includes a 15-minute intermission, the story never lags. It also doesn’t try to wrap up all its threads in a neat little bow. You may leave the theater with unanswerable questions, but you’ll also leave impacted by its depiction of life’s struggles. It’s a masterpiece.
Anna: Brody has a disarming meekness about him that plays well in Tóth, whom we feel an immediate need to look out for. Soon we learn, however, that quiet does not equal weakness, and Tóth has a calculated way about the world and those in it. He understands what it means to be an immigrant, a Jew, an “other” in a world and a country that seems less than interested in giving him a second thought. The moment he begins to trust, it seems everything finds a way to fall apart. When his brilliant work lands him in the scope of Harrison Van Buren Sr., it seems that Tóth’s luck may have changed. The opportunity for his wife and niece to join arises as well as work—work that is meaningful and big and true to his talent. This film may be long, but it’s beautiful. And heart-wrenching, and melancholy. It is one that won’t be forgotten with time, an absolute classic.
Glen: Van Buren is such a despicable bully, a classic example of an ugly American. He’s rich, he’s mean, and he’s deeply jealous of Tóth’s talent. His equally awful son, Harry, and much nicer daughter, Maggie (Stacy Martin), secretly hire Tóth to reconceptualize their father’s library as a gift while he’s away, and when he returns, he flies into a rage because he doesn’t understand how amazing the new design is. He’s a philistine, but he eventually realizes Tóth’s genius and hires him to design a community center as a tribute to his mother. I won’t spoil it for you, but this project that’s supposed to be a tribute to Van Buren’s mother instead becomes a personal project for Tóth. The acting is incredible. Brody is positively soulful in his portrayal of this flawed genius, Jones plays Erzsébet hovering between fragile and impossibly strong, and Pearce’s Van Buren is corrupt to the core. All three deserve Oscars.
Anna: Agreed. This movie is nothing but an absolute force of talent. When Tóth caught Van Buren’s eye, I was immediately wary—he gives bad dude vibes and lives up to them, as does his son. Money is ugly and so are the people who have it. This film makes sure we know the inherent and deplorable truth of that. I’m so impressed with Jones as an actress, and her role as Erzsébet is another feather in her cap. Viewing this film is a commitment, but one worth making. Let yourself get lost in it. It’s one that will haunt you for days after and has earned its accolades.
New Times Arts Editor Glen Starkey and freelancer Anna Starkey write Sun Screen. Glen compiles listings. Comment at gstarkey@newtimesslo.com.
This article appears in Jan 30 – Feb 9, 2025.