NEW YORK — Brady Corbet’s film “The Brutalist” has emerged as a remarkable cinematic achievement, transcending typical movie expectations and captivating audiences. At three-and-a-half hours long and filmed in VistaVision, this postwar American epic embodies the boldness of its protagonist, an architect. Unconventional in today’s film landscape, it even includes an intermission. Yet, rather than fading into obscurity, “The Brutalist” has garnered significant acclaim and closer acceptance by mainstream audiences.
Corbet, only 36 years old, finds this reception a surprising twist for his lengthy film, which he initially believed would appeal primarily to a niche audience. “It’s a great reminder that anything can be mainstreamed,” reflects Corbet, who maintains hope for film’s future despite initial opinions suggesting his work wouldn’t find its audience. “Six months ago, many were telling me the film is undeliverable,” he recalls, content in the aftermath of its reception at the Venice Film Festival, where it has emerged as a frontrunner for the Oscars, recently earning seven Golden Globe nominations and being celebrated by various critics groups.
However, the ambition behind “The Brutalist” extends beyond accolades. Corbet, with previous experience acting in films by acclaimed directors, feels that cinema has stagnated under the weight of safe decisions and streaming trends. He aims to inject some audacious artistry back into filmmaking, stating, “I struggle a lot with movies from the last 20, 30 years… I feel that they’re perfunctory — narratively perfunctory, stylistically. There are no big swings.”
The film features a compelling narrative revolving around architect László Tóth, portrayed by Adrien Brody, who survives Nazi camps and relocates to Pennsylvania. A struggling designer, he finds renewed purpose through a project commissioned by the wealthy industrialist Harrison Lee Van Buren, played by Guy Pearce. Their relationship grows increasingly complex, transforming “The Brutalist” into a profound examination of American capitalism’s darker side.
Shifting gears, Corbet and co-writer Mona Fastvold also critique Hollywood within the narrative, inspired by the frustrating experience on their previous film, “Vox Lux.” Corbet expresses disappointment at the overwhelming influence of financiers in that project, asserting that it pushed him away from working in the U.S. film industry altogether. He shares fond memories of the creative process for “The Brutalist,” which took place in Hungary, seeing it as a way to foster genuine creative freedom while also analyzing the forces that limit such artistic expression.
Fastvold mentions, “This is the closest we will ever get to making a film about making movies,” highlighting their own challenges with industry relationships. Both acknowledge the delicate balance of power between the creator and the funder, illustrating the struggles encountered during production.
Creating “The Brutalist” was a laborious endeavor, spanning seven years with a budget of under $10 million, showcasing remarkable ambition for its breadth. Corbet explains, “The film was certainly designed to be outsized and imposing… We knew it was a big object.” He purposely crafted both the form and content to align closely, embodying the principles of Brutalism that mirror emotional truths found in human trauma.
For Brody, the role resonates on a personal level, recalling his performance in Roman Polanski’s “The Pianist,” wherein he portrayed a Jewish artist affected by World War II. Brody recognizes the parallels between László’s character and Corbet’s own life experiences, suggesting that filmmakers often channel their journeys through their characters.
Corbet critiques the current state of filmmaking, emphasizing that a lack of adventurousness alongside structural limitations leads to a non-daring industry. He challenges the notion of humility in filmmaking, insisting that creators not shy away from the grand scope of their projects. He recalls influential filmmakers whose work demands a vigorous engagement, contrasting them with today’s trends that often feel formulaic and repetitive.
As he looks ahead, Corbet reveals excitement for his next venture, a ’70s-inspired horror Western, believing that each project must continually push the boundaries of creativity. “You have to dare to suck,” he concludes, reinforcing his belief in exploring bold and innovative narratives to keep the conversation alive in cinema.
