Adrian Brody is here to stay and is better than ever.
It’s not hyperbolic to say Brady Corbet’s ‘The Brutalist‘ isn’t like anything in recent memory. It defies the general genre conventions we’ve grown accustomed to as cinephiles while crossing between themes of immigration, addiction, Zionism, class, artistic effort and meaning, and capitalism.
It’s ambitious and Adrian Brody is at the center of it as László Tóth. We don’t know much about Tóth or his purpose–initially presented to us as a former architect immigrant trying to assimilate and live the American dream. Tóth finding his ground, gets a job at his cousin Attila’s (Alessandro Nivola) furniture shop. It appears like a classic story of a man starting his life over again, trying his best to embody his new home, even if it is just a janitor’s closet.
❝A bold, unconventional story.❞
Brady Corbet’s latest film defies easy categorization, blending themes of immigration, addiction, capitalism, and artistic legacy into a visually stunning and deeply ambitious work. It’s a bold, unconventional story that challenges the audience while rewarding those willing to engage with its layered storytelling and complex characters.
The film sets the stage for what’s to come with the Van Buren family, when Harry Lee Van Buren (Joe Alwyn) hires László and his cousin to remodel his father Harrison’s (Guy Pearce) library as a surprise. The project, though appearing beautiful and minimalist—as is an excellent brutalist style—fails.
Harrison returns home earlier than anticipated and refuses to pay, disgusted with the process. Attila kicks László out, causing him to deepen or start (it’s never stated when) his opiate addiction amidst trying to find shelter and a life with his friend Gordon (Isaach de Bankolé). Then, one day, Harrison returns with an apology, bringing László into his world of the ultra-elite and wealthy.
The story develops into Harrison offering László help to bring his wife Erzsébet (Felicity Jones) and their niece Zsófia (Raffey Cassidy) over from Europe. At the core, Harrison wants a community center designed by László as a tribute to his recently deceased mother.
It’s a place with no clear indication other than as a hub for Harrison to control. Perhaps it indicates Harrison’s need to control László, highlighting how the architect’s structures have survived the war and will speak for generations well after the conflict ends. There’s a paradox of Harrison’s obsession with László, caked with László’s perfectionism and need to create. Is the artistic pursuit what matters? Or is the final product what’ll live on? Or something in between?
The performances are top-notch. Felicity Jones comes at the midpoint and is the emotional impact the film needs as László dives deeper into mania. Brody is incredible. His performance is expressive and overflows with emotion, and it’s no reason he won Best Actor 22 years after his first. Guy Pearce balances him well and isn’t as one-dimensional as expected. Though selfish in nature, it gives the film a much-needed jolt from his very first moment on-screen.
❝A cinematic achievement that thrives on its ambition.❞
The film is also a technical marvel, utilizing gorgeous compositions without ever feeling too arthousey. It’s beautiful and is anchored by excellent editing with one of my favorite scores of the year.
‘The Brutalist’ is a cinematic achievement that thrives on its ambition, anchored by powerhouse performances—especially Brody’s mesmerizing portrayal of László Tóth. Corbet crafts a film that is both visually striking and thematically rich, refusing to conform to conventional storytelling. It may not be for the casual moviegoer, but for those seeking a bold and thought-provoking experience, ‘The Brutalist’ is a reminder of why we need more films that dare to push boundaries.
TMFF RATING:
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