The Brutalist: Oscar-Baiting Done Right
By Esther Kabwika
The Brutalist (2025) – directed by American actor and filmmaker Brady Corbet – falls under the “Oscar bait” category. Winning three Academy Awards this year – and deservedly so. One of the reasons being its stunning cinematography. Courtesy of English cinematographer Laurie “Lol” Crawley. Known for films such as The Childhood of a Leader (2015) and Vox Lux (2018), has created arguably one of the most visually beautiful films of the year. At first, I was horrified at the exceptionally long run time of The Brutalist but pleasantly surprised to see that there was an intermission, which gave a very mid-20th century feel to my viewing experience.
This period drama centres on the Hungarian-Jewish architect and Holocaust survivor – Laszlo Toth – who is forcibly separated from his wife and now orphaned niece whilst fleeing post-war Europe in 1947. Now, two-time Oscar-winner, Adrien Brody, delivers a stunning performance, convincingly portraying the struggles of a struggling immigrant. Alongside him, is his long-suffering wife – Erzébeth Toth – played by Oscar-nominee Felicity Jones, who is left disabled after narrowly surviving the Buchenwald concentration camp with her niece.
Although he was a revered architect in Hungary, Toth labours loading coal in the US and eventually becomes addicted to heroin. Nearing the end of part one, Toth is approached by a disturbingly wealthy, snobbish client Harrison Lee Van Buren (Guy Pearce), who offers Toth the opportunity to build a distinctly modernist monument as tribute to his late mother. As Toth makes progress with the project, it begins to consume him in every way. He is consistently fighting his heroin addiction whilst fighting for his art, and by extension, his legitimacy as an American. Brody is able to depict the woes of a struggling artist exceptionally well, first as The Pianist, and now as a pioneer of the brutalist movement.
As well as the exceptional performances, striking cinematography and remarkable set design, – the costume design cannot be overlooked in its role in setting the tone and aiding in storytelling. In an interview in GQ, costumer designer Kate Forbes discusses how the limited costume budget which actually useful for a film like The Brutalist. Every piece of costume appears lived-in and intentional. Clothing as we’ve come to understand, is not necessity anymore, it is an indicator of wealth, perceived wealth, status, a non-verbal style of communication which tracks changing trends, social attitudes and even the state of the economy. Costume design, especially for period dramas like The Brutalist can aid in this communication.
My gripes with The Brutalist began after the intermission. Whilst the first half was well-paced, fascinating and generally made sense, the second half felt unbalanced and confused. As Toth gains more notoriety for his art, Van Buren sees an opportunity, this opportunity inevitably leaves a door open for exploitation. One particularly disturbing scene sees Van Buren rape an intoxicated Toth. Van Buren is characterised as an insatiable, greedy businessman concerned only with his reputation, and once Toth enters the scene, Van Buren becomes jealous to the point of obsession. The rape, potentially, symbolises his overwhelming need for control and to hold power over those with talent and potential. Van Buren’s admiration of talent, despite lacking any of his own, reflects the American landscape , one increasingly shaped by spectators rather than innovators. The mid-20th century saw the commodification of deeply personal and supposedly anti-capitalist artistic expressions, turning them into marketable products.
The Brutalist, on the surface, is about a Jewish Hungarian refugee contributing to a modern artistic movement and design model. However, this film is truly about the quest to rebuild after brutal destruction, the deceptions of the American dream, and the seemingly inextricable link between art and the addictions we use as a means of escape.
References:
[1] King, J. (2025). The Brutalist’s Suits Are All Mini Menswear Time Capsules. [online] British GQ. Available at: https://www.gq-magazine.co.uk/article/the-brutalist-costumes-suits [Accessed 10 Feb. 2025].
