After surviving the horrors of World War II, Hungarian architect László Tóth (Adrian Brody) flees to America in search of a better life. One that it seems wealthy industrialist Harrison Lee Van Buren Sr. (Guy Pearce) is willing to give him. 

Over the course of a captivating 214 minute running time, which includes a baked in 15 minute intermission, The Brutalist charts Tóth’s American experience between 1947 and 1960. 

Forcibly separated from his wife Erszebet (Felicity Jones) and niece Zsofia (Raffey Cassidy) at Buchenwald concentration camp, László initially finds work with his cousin Attila (Alessandro Nivola) at his furniture shop. Attila has fully assimilated himself into American culture, changing the name of his business and converting to Catholicism for his wife Audrey (Emma Laird). 

It is at Attila’s furniture shop that László is commissioned by Harry Van Buren Jr. (Joe Alwyn) to renovate his father’s study into a library. Van Buren Sr. is initially unaware of László Tóth and his architectural background, resulting in a slightly tetchy initial encounter. But when other socialites praise his new library he decides to offer László a commission. A huge undertaking with a vision of creating a community building that can act as place of worship, meeting place and more. 

Over the course of his years in the U.S. László’s story focuses on Jewish identity, the immigrant experience in America, how power and privilege impact your position in society, art versus commerce, talent versus ego and legacy. 

The Brutalist is a modern American masterwork that is aware of its own importance. With a budget under $10 million writers Mona Fastvold and Brady Corbet, who also directs, have delivered a work of awe inspiring power. 

Despite its mammoth running time not only does The Brutalist ever feel like it’s dragging there are often moments when you want to know more. The focus is on Tóth and more specifically his experience of the American dream. But I constantly found myself wanting to know more about this completely fictional, but entirely real feeling character. What of his experiences during the war? How did he survive and make his way to America? And then there are the pivotal people who impacted his life. Van Buren Sr. Is fascinating. His wife Erszebet must have suffered greatly but remained strong throughout her trials. And then there is his friend Gordon (Isaach De Bankole) whom he worked with throughout most of his time in the U.S. and shared some very dark moments with. 

The film’s structure and presentation is fascinating. It is separated into parts with artistic titles. Opening with an Overture and “Part 1: The Enigma Of Arrival” before cutting to a family photograph pivotal to the story and a timed intermission. Then ending with “Part 2: The Hard Core Of Beauty” and an Epilogue. The breaking into chapters helps us understand where we are and makes the running time more manageable. 

The film also looks stunning. Shot in VistaVision and featuring opening and closing credits in line with the brutalist architectural movement it looks amazing. Paired with a powerful minimalist score by Daniel Blumberg it all feels so important. 

And then there are the performances. Adrian Brody appears in almost every second of the film and his character goes through every emotion in the human spectrum across the years the film depicts. I have already spoken about how much more you will want to know about his character and it is all testament to how real he makes him feel. Guy Pearce is also at the absolute top of his game as the entitled industrialist who is fascinated by Tóth. The two of them spar together perfectly. Elsewhere Jones, Nivola, Alwyn, Cassidy and De Bankole all deliver believable, well rounded characters who stand alongside the two powerful leading roles. 

The Brutalist is immense.