LOS ANGELES, Dec. Sept. 16 (UPI) — At 3 hours and 35 minutes, The Brutalist, opening in theaters Friday, uses the ancient epic genre to show the rewards and sacrifices of paintings and craftsmanship. Although they focus on architecture, the themes are universal.
An acclaimed architect in Hungary, László gets work with his cousin, Attila (Alessandro Nivola). Designing a library for Harry Van Buren’s (Joe Alywn) father, Harrison (Guy Pearce), leads Lászlóto a major project that dominates the bulk of his life in the United States.
The Van Buren Center requires more collaboration and supervision, which brings with it setbacks that require compromise. Ultimately, Harrison makes the decisions because he controls the money, no matter how much he respects László as an artist.
The film showcases what is great about László’s designs. His library shelves unfold from the walls and his plans for the Van Buren Center are visionary in model form long before they are completed.
The Brutalist also shows the difficulties faced by independent entrepreneurs. Atilla gave László more money for the library project, but is blamed when the visitor defaults on his payment, something any freelancer can relate to.
This rapid setback foreshadows the disorders that László will face on a larger scale in his most important projects.
Anti-Semitism is an issue in the United States from the 1940s to the 1960s covered through The Brutalist. Director Brady Corbet, who wrote the script with Mona Fastvold, avoids overt depictions of prejudice.
Instead, The Brutalist depicts anti-Semitism in its true subtle, insidious forms. It simmers throughout László’s interactions so that it wears on him by the film’s second half.
Sexual violence also is characteristic of the times. Corbet and Fastvold handle it without being graphic, but it is clear what the Tóths face.
The film is shot in 70mm and screenings in this format show how excellent a period piece using old film techniques can be. Although it will also be shown in popular virtual cinemas, the opportunity to see it in 70mm is worth seeking out. .
The symbol is bright and sharp. Lest audiences take it for granted, the editions incorporate archival footage (and even a VHS series in a 1980 epilogue), so the 70mm stands out when the film looks back at the newly shot footage.
Fred Topel, who attended film school at Ithaca College, is a UPI entertainment company founded in Los Angeles. He has been a professional film critic since 1999, a Rotten Tomatoes critic since 2001, and a member of the Television Critics Association since 2012 and the Critics Choice Association since 2023. Learn more about his work in entertainment.