Brady Corbet
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Filmography
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Written by Corbet and Mona Fastvold with a scope worthy of the best Paul Thomas Anderson films – reminiscent of There Will Be Blood and The Master’s aspirations – The Brutalist wows from start to finish.
In recent years, it felt as if that might be forever. Although there have been signs of its revival, particularly with a pair of P.T. Anderson films, There Will Be Blood and The Master.
The Godfather Part II (1974)
Directed by Francis Ford Coppola
influenced The Brutalist (2024)
Visuals
This sequence, which I guess is a reference to the Ellis Island arrival scene in The Godfather Part II (1974), is shot with a crazily spinning camera, like a sped-up outtake from La Région centrale (1971).
One Battle After Another (2025)
Directed by Paul Thomas Anderson
influenced by The Brutalist (2024)
Visuals
PTA decided to film using the large-format VistaVision, similar to how The Brutalist was shot.
…shot in VistaVision, just like last year’s Best Picture nominee, “The Brutalist.”
…like The Brutalist, shot on the antique VistaVision format…
Last year’s The Brutalist explored a similar dynamic, with the key variation here being that Marty is an opportunist, not an intellectual.
The relationship between a wealthy industrialist and an exciting, younger talent, hesitant to work with them but in need of their backing, is a core tenet of stories about the American Dream (The Brutalist, just last year)…
Vox Lux reminds one of Nicolas Winding Refn's The Neon Demon.
It’s the sort of movie, like “mother!” or “The Neon Demon” or “Suspiria” before it, that is guaranteed to repel just as many (if not more) as it draws in.
Corbet’s go-to cinematographer Lol Crawley (Childhood Of A Leader, Noah Baumbach’s White Noise, Andrew Haigh’s 45 Years), together with the formidable production design by Judy Becker (Todd Haynes’s Carol, David O Russell’s American Hustle) create a 70mm tableau that functions as a palimpsest of memories and dreams, realities and archives.
Here, Portman channels what seemed, at first, to be the style of Lorraine Bracco, or maybe that of Cyndi Lauper; but when I heard one particular line of dialogue (in which Celeste tells Ellie, “You look like a retard”), the comparison leaped out: intentionally or not, Portman’s performance resembles that of Margot Robbie in “The Wolf of Wall Street.”
Portman’s performance is, in many ways, incredibly daring; at times her unrelieved nastiness recalls Jennifer Jason Leigh in “The Hateful Eight.”
Joining him is Adrien Brody, whose turn as a Holocaust survivor is both raw and fascinating in the way varying shades of tumult and passion intertwine at all times. It recalls his work in Polanski’s The Pianist, and his engrossing performance as a man who is perverted by the company he keeps, becoming a creator who “worships only at the altar of himself”, is matched by Felicity Jones’ turn as Erzsébet in "Part 2: The Hard Core of Beauty."
Brody, who won his Academy Award for portraying a Holocaust survivor in Roman Polanski's The Pianist (2002), is equally anguished here, impressively speaking Hungarian and accented English.
Adrien Brody, who won an Oscar back in 2002 for The Pianist, delivers the performance of his career in The Brutalist.
Though fictional, the character of László Tóth – as whom Adrien Brody delivers an all-timer of a performance that outdoes even his Oscar-winning turn in The Pianist – is an amalgamation of countless migrants who came to the United States in search of grander opportunities, only to be met with merciless exploitation by those too privileged to fully understand their plight.
There are moments in this film (just wait for the marble quarry in Carrara) that I will carry with me in much the same way I carry the sunset dance from Lee Chang-dong's Burning or the great wave in Pacifiction: the kind of things that help you remember you why you fell in love with this thing in the first place.
…any films about artists (LUST FOR LIFE, THE BRUTALIST)…
Like the protagonist of Eastwood's Gran Torino (which was also scripted by Schenk), Earl is stubborn, casually bigoted, and hoping to make up for a lifetime of regrets.
There have only been a handful of movies that have taken on school shootings in as frank a manner as "The Fallout"; in 2003, Gus Van Sant's "Elephant" took a straightforward look at the perpetrators of a school shooting, while Brady Corbet's 2018 drama "Vox Lux" used a school shooting as a dramatic backdrop for a pop singer's journey.
Last year, “The Brutalist” — a completely original film with no built-in audience — and its three-and-a-half-hour runtime drew enough paying viewers to make its budget back five times over.