The Brutalist | TIFF 2024 | Review by: Gal Balaban
There’s no shortage of incredible films covering the dark chapter of humanity that is the Holocaust, not to mention one starring The Brutalist’s Adrien Brody. That said, no film has asked in this fashion what comes after a film like The Pianist, or even The Zone of Interest -- life after the war ended for survivors of one of humanity’s great atrocities, including mass immigration to America, was no “fairy tale” happy ending. Instead, The Brutalist portrays mere life for a Holocaust survivor as what it really must have been: an endless waking nightmare. An early shot sets the tone perfectly: our main character Lazlo Toth, is on a boat arriving in New York, only the camera frames the Statue of Liberty sideways and shakily -- a look into Lazlo’s hidden perspective of the world ahead of him.
Brody’s performance is integral to our journey with the film. The unlocking of Lazlo’s ambitions is gripping for the audiences, but even more so is his struggles with his surroundings and his outlook on his sense of self, which has been fractured after the war, as for every survivor. Brody’s chronicling of a fictional man’s journey, who is brought to life with such pain and understanding that some viewers may be surprised this isn’t a biopic, is a tremendous performance and some of the decade’s most remarkable acting. When Lazlo is cold, angry, or hard to read, we still understand and care about him because he’s incredibly delicate and empathetic. Felicity Jones is heartbreaking and vulnerable as Lazlo’s wife, whose tenderness anchors him, while she goes against odds to stand up for him when even he can’t. Guy Pearce is riveting and unforgettable as a larger-than-life man who starts out as an angel in Lazlo’s life, sweeping him from the poverty of immigrant life and giving him a canvas for glory and success. What’s key is that Pearce’s character isn’t so easy to read. He’s elegant, but also temperamental and has a sick idea of power and control.
The film captures a chapter in history in its grandeur, powerfully covering Jewish assimilation in America, and how willing America is to truly let others. There’s a sense of hopelessness to the struggles they endure, as the promises of immigration prove more difficult than meets the eye, but not just that. There’s a feeling of horror underneath, even when there isn’t a moment of violence, and you’re simply witnessing the towering cinematography and hearing the booming score. Brady Corbet brilliantly hides discomfort and gloom underneath that’s itching to break out of this historical drama about architecture, and it seeps deep into its audience while never quite making it to the surface in a literal sense. Still, the gorgeous shots, magnificent production design, and undertones of every scene grip us throughout the long time period it depicts.
The ending is tonally unexpected and polarizing compared to the rest of the film, and hits you like an emotional sledgehammer. It makes the entire experience more heart-shattering and important and is impossible to forget. The Brutalist is a devastating and sweeping epic like we’ve rarely gotten in recent decades, with a look and feel that stuns as much as it quietly terrifies, capturing an entire era with a long but mostly earned runtime. Like the big epic films like Lawrence of Arabia and Schindler’s List, The Brutalist is massive and transformative, and is one of those films that’ll stay with you forever.
5/5
