Brady Corbet’s latest film, The Brutalist, is an epic tale of art, patronage, and capitalism that spans decades and explores the US’s relationship with Europe. Despite its three-and-a-half hour run time, the film’s ambition is both its greatest strength and weakness.
Critics have taken issue with The Brutalist’s length, suggesting it feels too grand or full of itself. However, this criticism overlooks the film’s impressive achievements in construction. Corbet and his team made a small-budget film ($10m) that turned a profit by sacrificing creative freedom.
The film tells the story of Hungarian architect László Tóth (Adrien Brody), who flees Europe after surviving the Holocaust, only to find himself struggling with antisemitism in America. He becomes embroiled in a complicated relationship with industrialist Harrison Lee Van Buren (Guy Pearce) and his son Harry (Joe Alwyn).
The Brutalist’s second half is where the film truly shines, thanks to its performances and propulsive pacing. Brody brings depth to Tóth, who is both sympathetic and infuriating. Meanwhile, Pearce’s Van Buren is a character with an inferiority complex, driven by his desire to overpower European aesthetics.
The tension between Tóth and Van Buren feels timely, as both the US and Europe re-evaluate their relationship. The film’s visuals are awe-inspiring, making it feel like a giant statement on the country of its making.
As the Academy considers this year’s best picture nominees, they should think big – just like The Brutalist. This is a film that demands attention with its massive images and profound ideas.
Source: https://www.theguardian.com/film/2025/feb/28/why-the-brutalist-should-win-the-best-picture-oscar