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‘The Brutalist’ Review: Brady Corbet’s 70mm Epic Is A Flawed But Fascinating Edifice To The Practical Possibilities Of Cinema – Venice Film Festival
'The Brutalist' review: Brady Corbet's 70mm epic is a flawed but fascinating edifice to the practical possibilities of cinema – Venice Film Festival
The building must be a multi-faith space, which rankles with László’s purist sensibilities, but he accepts the challenge while bristling at Van Buren’s attempts to rein in his vision (a not-too opaque metaphor for any director’s relationship with their producers). Erzsébet is something of a buzz-kill, and she detests the phoniness of her new surroundings; she doesn’t say it, but Goethe’s famous phrase must surely be on her mind as she watches her husband being used and abused: “None are more hopelessly enslaved than those who falsely believe they are free.” Shot with an impressively European veneer that recalls Sunset by Hungarian director László Nemes, Corbet’s film is both an edifice to the practical possibilities of cinema and, more notionally, a memorial to the late, much-missed Scott Walker.
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