Andrew Lauren Productions
Brookstreet Pictures
Carte Blanche
Intake Films
Kaplan Morrison
Not part of a collection.
The Brutalist
Welcome to America.
When an innovative modern architect flees post-war Europe, he is given the opportunity to rebuild his legacy. Set during the dawn of the modern United States (in Pennsylvania), his wife joins him, and their lives are forever changed by a demanding, wealthy patron.
- Original title
- The Brutalist
- Language
- EN
- Country
- US
- Budget
- $9,600,000
- Revenue
- $50,145,227
r96sk
Mar 4, 2025 · via TMDB
<em>'The Brutalist'</em> is simply outstanding. The biggest compliment I can pay it is that the run time of 215 minutes (!) comes and goes in a flash, the interval at ~1h 40m hit me like a brick! It's a perfect example of not overthinking run times, as long as what's onscreen is good it'll fly by. I'm not going to be able to add anything fresh to it what has already been lauded about this film, all I can say is that every inch of praise is unequivocally warranted. In regards to the Oscars, I agree that <em>'Anora'</em> smashed it out of the park greater but it's a close run thing. Two spectacular movies! Adrien Brody's performance is indeed sensational, he is an actor I've seen in bits down the years and have always been impressed so I loved be able to see him act front and centre in such a grand, tremendously made picture. He nails every part of László Tóth. I couldn't imagine any other actor in the role. Guy Pearce is also a brilliant performer here, obviously <em>'Momento'</em> remains his best work (that I've seen, anyway) but this is the greatest I've seen from Pearce away from that Christopher Nolan flick. He is superb! Joe Alwyn and Felicity Jones merit praise too. Nice to see Jonathan Hyde, as well. I don't think there is anything about this film that you could truly say is bad. The cinematography is particularly awesome, so is the score, the editing and practically every other detail. It's a quality piece of filmmaking. The first half is stronger than the second, but it's negligible.
Manuel São Bento
Feb 25, 2025 · via TMDB
The Brutalist is a slow-burn period drama that dives deep into the personal struggles of an immigrant protagonist driven by artistic ambition, trying to belong in a systematically adverse society. Through a mesmerizing, award-worthy performance by Adrien Brody, the filmmaker Brady Corbet focuses on the character's journey - navigating discrimination, family estrangement, and drug addiction - which is a compelling, intimate study of resilience. The architectural backdrop of a landmark institution being constructed serves as the main narrative that, while visually stunning through Lol Crawley's impeccable cinematography, ultimately fails to hold the same weight as the personal story, despite the evident parallelisms and metaphors. Daniel Blumberg's immersive score adds a layer of tension, creating an emotional undercurrent that enhances the viewing experience despite the slow pacing. The three-hour-and-a-half runtime can feel like a test of patience at times, especially with certain moments feeling repetitive or redundant. However, The Brutalist ultimately justifies its length, with the intermission offering a much-needed break in the otherwise epic storytelling. Personally, I feel like I'm in the minority on the positive side as I don't feel as blown away or impressed by the movie, but it's definitely a must-watch film of 2024. Rating: B
Chandler Danier
Feb 22, 2025 · via TMDB
This movie is excellent. Beautiful. Good story. Funny stuff. Drama. Twists and turns. Despite all that excellence, the best feature of this film is the fact that you could turn it off and come back to it the next day when the intermission pops up.
CinemaSerf
Jan 29, 2025 · via TMDB
Did this really need to be 3½ hours long? Well, no - I don't think so. As far as it goes, though, it features a stunning performance from Adrien Brody as fictional Hungarian architect "Tóth" who has manages to survive some torrid wartime experiences in Europe and make it to New York. He has family there, and that's the conduit to a meeting with the wealthy "Van Buren" (Guy Pearce) who decides that he wants him to design a public utility building - think Hearst Castle only without any style or shape to it. Indeed the title could very well be applied to his fascist style of bleak and angular artistry, but his new benefactor is prepared to commit £850,000 to the project so he's delighted. That's clearly to the chagrin of "Harry" (How Alwyn) whose role here is that of a meddlesome provoker as he he constantly tries to intervene between the architect and his father. "Van Buren" senior also manages to facilitate his repatriation with wife (Felicity Jones) and her niece "Zsófia" (Raffey Cassidy) but that doesn't quite go to plan either, and soon seems to further pile on the increasing misery for a "Tóth" who is treading on eggshells on all fronts now as he tries to build his charm-free edifice. The centrepiece of this is to be an altar stone, and for that he and his boss travel to the mountains of Carrara, rarely seen in film since Charlton Heston saw the ceiling of the Sistine in the clouds there. Here something shocking happens that ultimately changes the whole dynamic of that relationship and of the film itself. It's this last twenty minutes that I felt saw the wheels come off. The thrust of the story throughout appears to emphasise the man and his family as outsiders. As them being a means to an end and little better than a commodity to be used and abused as one of the "Van Buren" men see fit, but the drunken violence that concludes the story seems excessively designed to disgust for the sake to it. Why? I didn't get it, nor the consequent denouement. It's also interesting that much is being made of the VistaVision angle. That which put so many from Humphrey Bogart to John Wayne on the big screen decades ago now appears to have been "rediscovered" as if it were revelatory. Well it might help the photography, but not the story - and that begins to run out steam before the unnecessary (from a plot perspective) intermission. Part one offers a compelling look at obsession and the odious nature of patronage and hypocrisy. Part two isn't nearly so good, is more soapy and far less substantial - there is plenty going on but none of the threads really get the attention they need to make them interesting, or to ant them together cohesively. Brady Corbet has one hell of an imagination but perhaps this needed a more objective, and judicious, hand at the tiller. It's good, but it's not anything like as good as it's being hyped up to be. A big screen is essential, though. It will look depressingly ordinary on the television.
Pete0147
Jan 26, 2025 · via TMDB
"A Colossal Cinema Achievement" 10/10
Brent Marchant
Jan 11, 2025 · via TMDB
Pursuing the American Dream is an ambition of almost every immigrant who manages to make it to this country’s shores. Its realization can take many forms, too, depending on one’s circumstances. But, as many new arrivals discover for themselves, there’s no guarantee of success (or, at the very least, they may find that the journey can be more problematic than anticipated). One such story that provides the focus for this optimistic undertaking is the latest offering from writer-director Brady Corbet. The film follows the odyssey of László Tóth (Adrien Brody), a fictional Jewish Hungarian architect who flees Europe in 1947 after being interred in a concentration camp during World War II. He initially struggles to assimilate, to re-establish his career, and to find a way to bring his wife, Erzsebét (Felicity Jones), to America. But, despite these sundry challenges, his fortunes change drastically when he’s commissioned to design a high-profile mixed use community center with the generous support of a wealthy and powerful benefactor, a capricious, enigmatic industrialist (Guy Pearce) whose many impulsive, emotionally charged whims provide László with a firsthand introduction to the many possibilities and pitfalls tied to that elusive American Dream. In telling this story, the filmmaker explores the ups and downs associated with these themes, as well as an array of additional diverse story threads involving the protagonist’s professional pursuits and personal life. These combined elements make for an engaging and intriguing tale, even if some of the story arcs and character traits are unevenly developed. That sometimes includes the nature of László himself, which is somewhat perplexing given the production’s hefty 3:35:00 runtime (with an included intermission), a duration that should provide ample time for the picture to sufficiently flesh out its core narrative elements and character attributes. That shortcoming aside, though, “The Brutalist” has myriad strengths to its credit, including the fine performances of Pearce, Jones, Golden Globe Award winner Brody and a host of capable supporting players, along with its superb cinematography, stirring original score, and ably sustained pacing (quite a commendable feat for a film of this length). Admittedly, this offering’s solid opening act is far superior to its back half, which tends to sag at times as it wears on, but, on balance, this Golden Globe winner for best drama and best director generally holds up well. In an awards season that has had more than its share of dismal disappointments, it’s heartening to finally find a release that comes closer to approaching the standards that a film should embody to merit the kinds of accolades and attention such honorees truly deserve. It may not be perfect, but it’s a far sight better than many of its other 2024 cinematic peers.
User reviews courtesy of TMDB.
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Adrien Brody
László Tóth
Felicity Jones
Erzsébet Tóth
Guy Pearce
Harrison Lee Van Buren Sr
Joe Alwyn
Harry Lee
Raffey Cassidy
Zsófia
Stacy Martin
Maggie Lee
Isaach de Bankolé
Gordon
Alessandro Nivola
Attila
Ariane Labed
Older Zsófia
Michael Epp
Jim Simpson
Emma Laird
Audrey
Jonathan Hyde
Leslie Woodrow
Peter Polycarpou
Michael Hoffman
Salvatore Sansone
Orazio
Zephan Amissah
Teenage William
Levente Orbán
Hungarian Refugee
Benett Vilmányi
Binyamin
Abigél Szőke
Nun
Zsolt Páll
Border Officer
Anna Mészöly
Prostitute 1
Mariann Hermányi
Servant
Nicholas Wittman
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Robert Jackson
Townsperson 1
Peter Linka
Townsperson 2
Jeremy Wheeler
Party Guest
Stephen Saracco
Construction Supervisor
Jaymes Butler
Bar Manager
David Puskas
Hired Man
Laurent Winkler
Guest
Hermina Fátyol
Madame
Dóra Sztarenki
Woman Dancing with László
Natalie Shinnick
Receptionist
Zalán Döbör-Hodászi
Drunk Guy
Judy Becker
Production Design
Sebastian Pardo
Title Designer
Lol Crawley
Director of Photography
Bence Szemerey
Still Photographer
David Malinowski
Prosthetic Designer
Scott Walker
In Memory Of
Gáspár Szabó
Stunt Coordinator
Norbert Kovács
Stunts
Joel Edgerton
Thanks
Brady Corbet
Director
Andor Berényi
Second Assistant Director
Mona Fastvold
Second Unit Director
Dávid Jancsó
Editor
Cassandra Kulukundis
Casting Director
Kristina Erdely
Casting Director
Viktória Petrányi
Co-Producer
Christine Vachon
Executive Producer
David Hinojosa
Executive Producer
Evangelo Kioussis
Executive Producer
Klaudia Śmieja-Rostworowska
Executive Producer
Kyle Stroud
Executive Producer
Mona Fastvold
Executive Producer
Norman Merry
Executive Producer
Pamela Koffler
Executive Producer
Peter Hampden
Executive Producer
Sarah Meyohas
Executive Producer
Brady Corbet
Producer
D.J. Gugenheim
Producer
Trevor Matthews
Producer
Daniel Blumberg
Original Music Composer
Brady Corbet
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Mona Fastvold
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