Adrien Brody Poised for Second Oscar with ‘The Brutalist’

VENICE, Italy—The atmosphere at film festivals can often lead to hyperbole. With thousands of passionate cinema enthusiasts, the air buzzes with fervent appreciation. Hence, it’s a frequent occurrence for films to be hailed as the best works in years, or for performances to be labeled extraordinary. Navigating this environment without getting caught up in the hype can be a challenge.

One film that managed to bypass any preconceived excitement for me was The Brutalist, a 215-minute epic directed by Brady Corbet, which recently premiered at the Venice Film Festival. Having felt indifferent to Corbet’s The Childhood of a Leader and largely unimpressed by Vox Lux, I approached his latest offering without high expectations. However, by the end of its lengthy runtime, I emerged with one conviction: I had witnessed a masterpiece.

The Brutalist spans 30 years yet retains a striking intimacy. The story follows Jewish immigrant László Tóth, played by Adrien Brody, who escapes post-war Hungary in 1947 with the hopes of achieving the American dream. Still stranded in Europe are his wife Erzsébet, portrayed by Felicity Jones, and her niece Zsófia, played by Raffey Cassidy. As László battles poverty, shoveling coal to afford shelter, his past accomplishments as a celebrated European architect seem irrelevant in post-war America.

László’s luck changes when industrialist Harrison Van Buren, played by Guy Pearce, discovers his talent and portfolio. Impressed, Harrison offers him the chance to design a massive community center in a small Pennsylvania town. This project is a significant turning point, offering László the financial stability and recognition he desperately seeks, setting the stage for a life-altering journey for him and his family.

The Brutalist seems destined for major accolades, potentially eyeing the Golden Lion at the Venice Biennale and even the Oscars. Despite Corbet’s previous contentious works, this film appears to be his most accessible yet. It channels the aura of classic cinema epics like Once Upon a Time in the West and The Godfather, which resonates strongly with the Academy’s nostalgia.

Though it is set in the past, the film’s themes feel modern, and its lengthy runtime is anything but cumbersome. The narrative unfolds through a series of small but significant decisions, creating a compelling build-up rather than overwhelming action. The film’s epic nature—one the Academy often favors—adds to its allure.

The Brutalist is monumental in every sense. It’s as thrilling as it is emotional, ranging from quiet introspections to uproarious moments. Corbet’s direction delivers a sharp commentary on the pursuit of the American dream and the countless struggles families endure to achieve it. It’s a sobering reminder of the persistence of otherness, no matter the attempt to assimilate.

Shot in 70mm and Vista Vision, Corbet’s visual approach is mesmerizing, with every frame demanding the largest screen available. The cinematography by Lol Crawley, who collaborated with Corbet before, is exceptional, evoking comparisons to classics like The Third Man.

The screenplay, co-written by Corbet and Mona Fastvold, is rich with detailed, engaging dialogue. Topics such as László’s passion for architecture are rendered riveting. The performances are standout, especially Adrien Brody, who delivers what might be the pinnacle of his career since his Oscar-winning role in The Pianist. His portrayal of László Tóth is a masterclass in embodying conviction and emotional depth.

Felicity Jones shines as Erzsébet, exuding fiery determination in a world riddled with obstacles. Meanwhile, Guy Pearce gives a career-best performance as the multifaceted Harrison Van Buren, a character as capable of kindness as he is of wreaking havoc.

The only hurdle The Brutalist might face on its way to Oscar glory is its current lack of a U.S. distributor. However, given the film’s enthusiastic reception, this issue is unlikely to last.

Source: The Daily Beast