Brady Corbet’s 4-hour fictional architect biopic The Brutalist


Hello Reader,

In the final installment of our three-part series on the biggest directorial swings at TIFF 2024, film critic Angelo Muredda joins me to discuss Brady Corbet’s ambitious yet polarizing film, The Brutalist. Earlier in the series, we discussed Joshua Oppenheimer’s The End and Luca Guadagnino’s Queer.

This four-hour biopic, shot in Vistavision and designed for 70mm, follows Adrian Brody as a Jewish brutalist architect and Holocaust survivor navigating post-war America. While the film has been hailed as a masterpiece by some for its length and format, we discuss how Corbet’s directorial vision leads to mixed results, including its depiction of privilege, power, disability, and the challenges of an uncompromising artistic vision in a precarious, capitalistic society.

Despite the film’s problems, they still find things to admire, particularly Alessandro Nivola’s compelling portrayal of Brody’s cousin. Throughout the episode, Alex and Angelo reflect on the film’s broader themes, including its exploration of brutalism, the Holocaust, and the precarious nature of art in a capitalist society.

Whether you love or loathe The Brutalist (or haven’t even seen it yet!), this episode promises a thought-provoking discussion on how Big Directorial Choices aren’t always enough to sustain a film, much as we may admire them.

The episode avoids major spoilers as the film will be released in Canada and the US in late December.

>>Click to listen to the episode<<

Happy listening!

Alex


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Seventh Row is a nonprofit Canadian film criticism publication and publishing house. We're dedicated to helping you expand your horizons by curating the best socially progressive films from around the world and helping you think deeply about them. This newsletter is run by Seventh Row (http://seventh-row.com) but features exclusive content not found on the website.

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