The Brutalist (2024)
The opening sequence of The Brutalist follows an excited László clamoring to reach the deck of the boat he’s immigrating in, trying to get a view symbolizing the purpose of this change in life: The Statue of Liberty. However, instead of turning around to mimic László’s gaze, the camera flips over, viewing the statue upside down and eventually on its side, shaky from László’s enthusiasm. We know what the Statue of Liberty symbolizes, but, from László’s perspective, we can’t get a true view of it.
The first half of the film continues on this journey of László finding his place in America. He gets lost, he struggles, but eventually opportunity knocks on his door and he’s on track for the future most people dream of. The intermission begins as soon as this journey reaches a high point, where things really seem like it’s all going to work out.
Then the intermission ends, and the other shoe drops.
László, the architect who isn’t afraid to tell a woman her nose isn’t the perfect shape, begins to realize his life won’t be perfect as he discovers his wife has been diagnosed with osteoporosis. Quickly, and without warning, the story begins to spiral: László’s project is cancelled due to elements outside of his control, his financier shows his true colors, and his wife’s condition that was allegedly temporary never goes away but instead worsens.
Minorities living in the States have heard this phrase at least once: They love our culture, but they don’t love us. This is The Brutalist’s thesis with an intentional double entendre, working as a framework of both immigrants and artists. Audibly, it boils down to what I consider to be the most vile line in the entire 3.5-hour film: “We tolerate you.” Visually, it boils down to the most vile act, committed by Guy Pearce’s character, Harrison.
Harrison only wants to support László’s work for his own reputation to the point that any threat to his reputation controls how involved he wants to be with László’s work. He wants to showcase the best art in the world not because he understands or appreciates it, but because it gives him value. By owning the art, he feels he effectively owns the artist, ultimately dehumanizing László.
The Brutalist is complexly layered, every aspect of it feeling intentional and begs for repeat viewings. Even the decision of where to place its intermission, giving time to ponder and discuss the first half with other viewers, putting yourself in the shoes of László while you theorize what the future will hold. I even believe the faster pacing of the second half is entirely intentional as well, because once things start crashing down, it feels like it’s all happening at once, not giving you time to fully process it, until László understands he’s finally getting a true view of America.
5/5