VENICE, Italy — It’s easy to overreact at film festivals. There’s a reason they’re so appealing — being surrounded for days by thousands of people who genuinely love cinema is a special experience. It’s also the time when the most revered stars, writers and filmmakers debut their latest movies. It seems like every day something is declared the best of someone’s career — the greatest film, the most extraordinary achievement. It’s easy to get swept up in all the hype.
A film I was not at all excited about was The Brutalista 215-minute (that’s three and a half hours) epic directed by Brady Corbet that just premiered at the Venice Film Festival. His first film left me cold, The childhood of a leader, and fell on the very negative side of his divisive VoxLuxSo when I sat down to watch Corbet’s latest film, I wasn’t exactly excited. But all those minutes later, I left the theater with one thought in my mind: I just saw a masterpiece.
The Brutalist is epic in scale and timeline, set over 30 years, but manages to feel remarkably intimate. The film follows Jewish immigrant László Tóth (Adrien Brody) as he flees post-war Hungary in 1947 to pursue the American dream. His wife, Erzsébet (Felicity Jones), is still in Europe with their niece Zsófia (Raffey Cassidy). While he awaits reunification, he struggles for years in poverty, shoveling coal to earn enough money to run a homeless shelter. László is a gifted and celebrated architect in Europe, a fact that seems to mean little in post-war America.
But when László is discovered by industrialist and philanthropist Harrison Van Buren (Guy Pearce), who is impressed by his intelligence and portfolio of work, Harrison offers László the opportunity to design a massive community center to unite a small Pennsylvania town. The project is the most significant undertaking of László’s career, an undertaking that will bring him the financial security he so craves and the recognition he longs for. Taking on this work will change his life and that of his family forever.
The Brutalist The Golden Lion (the Venice Biennale’s top prize) seems certain, and the Oscars are definitely in play. Perhaps people were skeptical at first because of Corbet’s history of controversy as a director, but this is his most accessible film yet.
It has the flair of classic cinema epics –Play me the song of death, The Godfather– and the Academy can’t resist a little nostalgia. The film still feels contemporary despite its historical setting and flies by despite its long running time. It’s not a film that bombards the audience with action, but rather a steady interplay of small decisions that lead to something remarkable. The length isn’t a problem either – the Academy loves epics.
This film is monumental. It is thrilling and emotional, quiet and observant, loud and angry. Corbet’s film is a provocative portrait of the search for the American dream, examining how families undertook enormous challenges to escape unspeakable horrors and achieve something better. It is a chilling reminder that no matter how hard you try to fit in – to change your voice, to change your name – you will always be perceived as different. Always.
Corbet’s vision is precise. He shot in 70mm and Vista Vision (which drew great applause from the audience), The Brutalist looks amazing. Complete with overture and intermission, it feels like a lost Hollywood classic come to life.
There have been many complaints that streaming movies look frustratingly flat, but The Brutalist is the exact opposite and requires the largest possible screen, with one striking image after another – with one particular scene bringing visions of the chase in the sewers into The third man. Cinematographer Lol Crawley (who worked with Corbet on his two previous films) does an exceptional job here.
His script (with Mona Fastvold) is rich in detail and snappy dialogue, making conversations like the one about why László has a passion for architecture compelling. And then there are the performances.
Adrien Brody, who won an Oscar in 2002 for The pianistdelivers the performance of his career in The Brutalist. It’s a rich role that Brody puts his whole being into, including a totally convincing accent. László is a man of extraordinary conviction and drive, and the character has lived on screen for so many years allows Brody to tap into every possible side of László’s psyche.
Felicity Jones is great in a supporting role as Erszébet, showing fiery conviction and determination to succeed in a world that makes it unbearably difficult. Then there’s Guy Pearce, better than ever with his wonderfully complicated character, a man capable of almost anything; he can admit when he’s wrong and be the stronger man, but he can also be an absolute terror.
The only major obstacle on the way to Oscar glory for The Brutalist is the fact that there is no US distributor at the time of release. Given the enthusiastic reception that Corbet’s film is about to receive, I don’t think that will be a problem for much longer.
