‘The Brutalist’ Is Technically Brilliant But Dramatically Distant Epic

‘The Brutalist’ Is Technically Brilliant But Dramatically Distant Epic

By Lynn Venhaus

A massive and ambitious drama, “The Brutalist” swings for the fences with big, bold visuals from a mid-century architect and an unwieldy dark narrative about struggles between art and commerce that spans 33 years over a 3 hour, 35-minute runtime.

To view it in one setting is a commitment, although theaters have a 15-minute intermission built in, showing the 215-minute film in two divided parts. It’s shot in Vista Vision, the first film using that process in many years.

While the film is technically brilliant, with stunning production design by Judy Becker and impressive stark cinematography by Lol Crawley to convey a giant scope of artistic vision and architectural grandeur, the script co-written by director Brady Corbet and his wife, Mona Fastvold, is a rocky road populated with thorny, complex characters.

This immigrant tale about László Tóth, a Jewish architect who crosses the Atlantic by boat from Hungary after World War II in 1947, gives the Oscar-winning actor Adrien Brody a meaty role that he can dig into, exploring various facets. This is not a biography, although it seems as if this character is based on a real person.

Once in Pennsylvania, he struggles to find comparable work to what he did so well before, and his wife Erzsébet (Felicity Jones) comes later, also a Holocaust survivor. Their backstory is bare minimum, and their family dynamic is odd.  They appear independent at times, others as dependent and intertwined.

After being commissioned to build a library for his elitist father by his pompous son, Toth encounters a wealthy industrialist, Harrison Lee Van Buren Sr. (Guy Pearce), who is a cold and callous businessman.

But Van Buren has sense enough to realize Toth’s talent. To strive for the American Dream, they need each other to accomplish their goals, and an uneasy partnership – of sorts – begins as Toth is hired by Van Buren for a structure in his mother’s honor, envisioning a modernist community center that will establish their legacy.

Neither man likes to compromise, and they each dream big, but Van Buren is a bully and has an off-putting way of humiliating Toth. The architect is also difficult to corral, stubborn in irritating ways, and it seems, teeters on going mad at times.

And then there is a doozy plot development that changes everything (and won’t be spoiled here). And a flat ending that seems tacked on after the film could have ended.

Neither of these deeply flawed, ethically challenged guys is all that likable, and the film has a weird chilliness and sterility to it. But it’s obvious both actors are giving their best efforts molding these distinctive men.

For clarity, brutalism is a style of architecture popular from the 1950s to the 1980s known for exposed concrete and brick that was designed with geometric, angular shapes and blocky forms. You’ve seen government buildings, parking garages and high-rises made in this style, and to me, ugly metropolitan slabs that are not visually appealing nor memorable.

Corbet, in his third feature after 2018’s “Vox Lux,” has a certain style, and those enamored by visionary auteurs will be enthralled. This film is a grand effort in establishing his singular vision. Yes, it’s artsy, but it’s also indulgent, and I feel parts are disjointed and often try too hard.

Corbet keeps viewers on their toes and when you think he’s headed in one direction, he veers a different way. Some of the most outrageous plot points don’t exactly fit a tidy narrative, and it spirals into several tangents that become increasingly head-scratching.

The strong supporting cast features two of Corbet’s actresses from Vox Lux, Raffey Cassidy as Toth’s niece Zsofia and Stacy Martin as Van Buren’s daughter Maggie Lee, as well as Joe Alwyn as her entitled creepy twin brother Harry Lee, and Isaach De Bankole as Toth’s friend Gordon, often a voice of reason.

Because of its audacious sweeping saga, punctuated by Daniel Blumberg’s haunting music score, few movies compare to “The Brutalist.” An awards magnet, it won the Silver Lion at the Venice Film Festival, and recently, a Golden Globe for motion picture – drama, as well as many critics’ groups’ love.

Yet, upon reflection, it’s more showy style than substance, and lacks connection. Not sure what it’s trying to say, but it’s not easy to embrace, except for what it is – an aspirational work of art that is one of those films more admired than widely accepted. 

“The Brutalist” is a 2024 drama directed by Brady Corbet and starring Adrien Brody, Guy Pearce, Felicity Jones. Joe Alwyn, Raffey Cassidy, Stacy Martin, Isaach De Bankole and Alessandro Novolo. It is rated R for strong sexual content, graphic nudity, rape, drug use and some language, and its runtime is 3 hours, 35 minutes. It opened in local theatres Jan. 10. Lynn’s Grade: B.

‘Stars at Noon’ Is A Provocative, Challenging Love Story

‘Stars at Noon’ Is A Provocative, Challenging Love Story

By Alex McPherson
A sexy, hypnotic, and intelligent drama, director Claire Denis’ “Stars at Noon” shines brightly, if viewers can get on its unusual wavelength.

Adapted from Denis Johnson’s 1986 novel of the same name, which takes place during the Nicaraguan Revolution of 1984, “Stars at Noon” unfolds in present-day and centers around Trish (Margaret Qualley), a supposed hard-news American journalist stuck in a politically unstable, Covid-stricken Managua. Lacking funds and a passport, she’s practically at the end of her rope when we first meet her, constantly drunk and turning tricks for wealthy men (including the Minister of Tourism) at the bougie Inter-Continental Hotel to scrounge up the means necessary to leave Nicaragua for good.

While on the prowl for a new client and some precious American dollars, Trish bumps into Daniel (Joe Alwyn), an enigmatic smooth-talker from London who claims to work for an oil company and casually admits he “commits adultery often.” They are immediately attracted to each other, and their transactional love-making evolves into a much deeper attachment. This mysterious white man in a white suit is being pursued by shady government operatives, and Trish’s own life is put at risk. Against their better judgment, these two spiraling souls are pulled together by desperation, romantic longing, and stupidity. They make a last-ditch effort to flee into Costa Rica, pausing frequently for sex, and causing plenty of collateral damage along the way.

Indeed, “Stars at Noon” thrives on mood and tone above all else — tedium mixed with an alluring, dreamlike haziness, offset by jolts of violence and a persistent sense of eeriness. Denis keeps plot details fairly sparse, choosing instead to let viewers bask in the sticky, humid environment, and observe the characters grasping for an escape.

The point is that they’re out-of-place in a foreign land destructively trying to remove themselves. Pacing is slow, conversations stretch on for long periods, and notwithstanding the mounting danger our central duo finds themselves in during the bloated 2-hour-and-18-minute runtime, “Stars at Noon” refuses to stomp on the gas pedal. Despite this subdued pacing, the film is mostly engaging, with a career-best Qualley doing much of the heavy-lifting.

Trish is a wonderfully flawed protagonist, equal parts cynical and helpless, prone to frantic decision-making, which often ends in trouble. Qualley brings a jumpiness that emphasizes Trish’s brash, headstrong personality, but there’s also an ever-present sadness that lingers over her conversations with Daniel and locals, self-loathing that manifests itself in impulsiveness.

While Trish isn’t an easy character to latch onto emotionally, Qualley’s performance — along with Denis’ patient approach to narrative — helps her feel like a grounded (literally) presence throughout. Her understated expressiveness brings additional layers to Trish’s interactions. Trish is trying to claw her way out of a predicament, likely of her own making, joined by a suave “gentleman” she’s both using and being used by, unsure of the kind of person she wants to become and — as Daniel’s goals become slightly clearer — what kind of impact she wants to leave behind. 

Éric Gautier’s camera follows her with a documentary-esque gaze, allowing us to observe her day-to-day efforts to leave Nicaragua, complete with strict Covid precautions. “Stars at Noon” thrives in tactile details, like the pitter-patter of rain against a windshield, and the warm glow of sunlight passing over naked bodies wrapped together in embrace. What’s sacrificed by this approach, however, is an immediacy that saps some of the intensity from pivotal sequences late in the film, as more traditionally “thrilling” elements come into play.

The soundtrack, by Tindersticks, brings a jazzy, noir-inflected touch to the proceedings, at once calming and uneasy — a dichotomy illustrated in Trish’s connection to Daniel. Sex scenes with Daniel are filmed with vivid eroticism — moments of togetherness that provide physical and emotional release while giving them both hope for a better tomorrow.

One incredible sequence on an empty dance floor, featuring a great song by Tindersticks, is irresistibly romantic, unfolding on a different plane of existence from the characters’ grim circumstances.

Qualley gets the most to work with, but Alwyn’s natural charisma and smooth line delivery helps make Daniel’s character a compelling question mark from beginning to end — mixing the profane with a cool, calm, and collected demeanor. It’s frustrating, though, that “Stars at Noon” leaves the specifics of his goals so ambiguous, rendering the film’s much more politically focused second half lacking the emotional impact it could have had.

It’s clear that Denis wants to illustrate the harmful effects of Western governments forcing themselves into outside countries, but the idea seems underdeveloped here. Trish doesn’t know why people want Daniel dead, hence we don’t know for sure either, only learning tidbits of information from Daniel and a creepy CIA agent (Benny Safdie). By the time we finally figure out what’s going on, the story nears its conclusion, leaving the narrative’s political bent neutered.

On the other hand, Trish and Daniel’s dash to the border does have subversive qualities, as their “love” for one another creates chaos for those they run into. Their heroism, as a result, becomes parasitic. For all the sweltering lovemaking and “adventure,” there’s a human toll, and Denis never lets us forget the pain left in their wake.

At the end of the day, “Stars at Noon” is an imperfect, yet strangely compelling watch, put together with a level of craft that’s easy to admire. Pacing and storytelling issues aside, the film only strengthens upon further reflection, as Denis once again demonstrates her mastery of the medium.

“Stars at Noon” is a 2022 romantic thriller directed by Claire Denis and starring Margaret Qualley, Joe Alwyn and Benny Safdie. It is rated R for sexual content, nudity, language and some violence, and runtime is 2 hours, 15 minutes. It was released in select theaters Oct. 14 and began streaming on Hulu on Oct. 28. Alex’s Grade: B+