The Brutalist (2024) – Film Review
Director: Brady Corbet
Cast: Adrien Brody, Felicity Jones, Guy Pearce
Certificate: 18
By David Reid
The Brutalist opens as the lead character, László Tóth, played by Adrien Brody, arrives in America in 1947. As the period setting suggests, he is seeking sanctuary in the United States during the post-war turmoil of the time. We learn that he is corresponding with his wife, Erzsébet (Felicity Jones), who is also caring for his niece, Zsófia (Raffey Cassidy). As Jews, they have experienced the horrors of the Second World War, including incarceration in concentration camps. The family has become separated, and László is seeking to make a fresh start, far from his home city of Budapest.
The opening sequence provides the audience with context, yet this is not a film that dwells directly on the Holocaust. Even so, we are made aware of the ongoing physical and psychological impact of the conflict on the Tóth family. The focus here is firmly forward-looking. This is evident in the early establishing scenes following László’s arrival via Ellis Island in New York, before he quickly makes his way to reunite with his cousin, Attila (Alessandro Nivola), and Attila’s new American wife, Audrey (Emma Laird). This couple has established a business, and through them, we gain an understanding of how Attila is seeking to assimilate into American society. László is understandably grateful for their help but is also keen to forge a path for himself.
“Existential crisis”
By profession, László Tóth is an architect, having trained in the German Bauhaus school discipline. This architectural approach, emerging between the world wars, sought to blend creative arts with building design, concentrating on functionalism—essentially the birth of modernist architecture. Like many immigrants making their way in a new country, László is required to undertake manual work rather than practise in his chosen profession. However, an opportunity arises for him to utilise some of his design skills, and he is introduced to the Van Buren family. Initially, this connection comes via twins Harry and Maggie Lee (Joe Alwyn and Stacy Martin) before he encounters their father, retail magnate Harrison Lee Van Buren Sr. (Guy Pearce).
Through a series of plot twists—widely reported in advance as part of the publicity surrounding the film’s awards season buzz—Harrison Van Buren commissions László Tóth to design an imposing building to serve as a family legacy. To reveal more about the plot would risk interfering with the viewer’s enjoyment of what has been described as an epic film. Such a description was widely used to refer to last year’s Best Picture Oscar winner, Oppenheimer, and it is equally applicable here—albeit in a different sense. Both films chart the personal and professional lives of their central characters against the backdrop of American life during an existential crisis. However, The Brutalist arguably has more to say about American society and race. The film’s tone and scope are reminiscent of Paul Thomas Anderson’s 2007 masterpiece There Will Be Blood.
“Assured”
László Tóth, portrayed in a powerful performance by Adrien Brody, is a sympathetic yet flawed character. Already an Oscar winner for The Pianist (2002), Brody has secured numerous accolades for this role and must be considered a serious contender to repeat the feat this year. The weight of such a film—which has a three-hour-and-35-minute runtime (including a 15-minute interval)—is also carried by two marvellous performances from Felicity Jones and Guy Pearce. The former, so memorable as Jane Wilde Hawking in The Theory of Everything, once again shines as a strong wife and independent woman. Pearce, in arguably his best performance since L.A. Confidential, embodies the wealthy entrepreneur Harrison Lee Van Buren Sr. An assured, self-possessed yet pompous, demanding, and troubled individual, he provides an important counterbalance to the quiet yet determined László Tóth.
At the helm is director and co-writer Brady Corbet, who was previously best known as an actor in the noughties action drama 24. This film is a powerful expression of his creative vision, shot in VistaVision format to enhance the quality of the cinematography. Special mention should go to English musician and composer Daniel Blumberg, whose imaginative use of brass and piano, along with Vince Clarke’s synthesiser contributions, complements the visuals beautifully.
Whilst not to all tastes, this is a compelling and thought-provoking film, released at a time when questions related to immigration and race remain at the forefront of contemporary debate.
David’s passion for cinema began with his first trip to the movies during The Troubles in Northern Ireland, where a screening of Jaws was dramatically interrupted by a bomb scare. Growing up in such an environment made entertainment scarce, deepening his appreciation for film and the arts. Over 25 years ago, he won a national film review competition, earning free cinema for life. This experience has allowed him to explore a vast range of genres and storytelling techniques. His reviews aim to provide insightful commentary without spoiling key surprises, helping audiences decide if a film is for them. He believes great filmmaking is rooted in strong storytelling, engaging viewers through narrative depth and presentation.
