---
title: "The Brutalist"
year: 2024
kind: "film"
canonical: "https://film.one/film/the-brutalist"
fi1m_id: "the-brutalist"
imdb_id: "tt8999762"
tmdb_id: 549509
wikidata_id: "Q101112656"
fi1m_score: 76
critics_score: 84
critics_reviews: 19
published: "2026-09-09"
updated: "2026-09-18T08:37:51.978617+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Brutalist (2024)

Directed by Brady Corbet · 3h 35m · MPA R · Drama

## Identity

The Brutalist

- **Canonical:** https://film.one/film/the-brutalist
- **Type:** Film
- **Fi1m ID:** the-brutalist
- **IMDb ID:** tt8999762
- **TMDB ID:** 549509
- **Wikidata ID:** Q101112656
- **Same entity:** https://www.imdb.com/title/tt8999762/, https://www.themoviedb.org/movie/549509, https://www.wikidata.org/wiki/Q101112656

**Fi1m score: 76** · Critics 84 from 19 reviews

*In a sentence:* Fifteen minutes’ intermission, and the film that comes back is not quite the one that left

> Brady Corbet’s story of an émigré architect and his American patron has a first half as sure of itself as anything we have seen in years, an Adrien Brody performance that carries it, and a second half that loses its way. Worth the evening.

## Synopsis

László Tóth (Adrien Brody), a Hungarian-Jewish architect who survived the camps, arrives in America in 1947 with nothing but a reputation nobody here has heard of. His wife Erzsébet (Felicity Jones) and niece Zsófia (Raffey Cassidy) are still stuck in Europe. He lodges with his cousin Attila (Alessandro Nivola), who sells furniture in Pennsylvania, and takes a job redesigning a private library for a rich man’s son, Harry Lee (Joe Alwyn). The rich man himself, Harrison Lee Van Buren Sr (Guy Pearce), is not pleased, and then is very pleased, and offers László the commission of a lifetime: a vast community building on a hill. Brady Corbet’s film runs 215 minutes, with an intermission, and covers three decades.

## Review

Brady Corbet and Mona Fastvold have written a film about a man who builds in concrete for a man who pays in cash, and the first hundred minutes of it are as good as most critics say. László Tóth (Adrien Brody) comes up out of the hold of a ship into daylight and the camera swings so the Statue of Liberty hangs upside down over him. We knew what the shot meant before we had time to think about it, and it still got us. That is the whole film in one image, and Corbet then spends three and a half hours making sure we have understood.

Brody plays László as a man who has been humiliated so often that he has stopped registering it, and then one day registers it. He is gaunt, he limps, he has a habit of looking slightly past the person talking to him. When Harrison Lee Van Buren Sr (Guy Pearce) finds out who the tradesman in his library actually is and starts calling him a genius at dinner parties, Brody lets a small dreadful hope into the face, and we did not enjoy watching it, because we could see where it was going and he could not. Pearce is the other half of the film: loud, generous, quick to cry, and the more he gives the more frightened we were for everyone at his table.

Lol Crawley shoots it grainy and wide and heavy with shadow, so it looks like a film from the era it is set in. He shoots the Pennsylvania estate in flat winter light so the Van Buren house looks like a bank. Judy Becker’s production design does the rest: the library László remakes is the moment we understood, without a line of dialogue, why anyone would hire this man. Kate Forbes’s costumes make the money visible from the back row.

Daniel Blumberg’s score is the best thing about the film that nobody at home will notice they are noticing. Brass comes in low and unresolved under the arrival, then a piano figure that sounds like somebody working something out, then a long stretch where the music gives way to the sound of drills and poured concrete. Dávid Jancsó cuts the first half briskly, with title cards for the years and a newsreel about Pennsylvania steel that we would happily have watched more of. Nothing in the first half is longer than it needs to be.

Then there is an intermission, and Erzsébet (Felicity Jones) arrives, and the film changes. Jones is good, sharp-tongued and unfooled, and her scenes with Brody at the kitchen table are the only ones where László seems to have an equal. But the story that follows is one we will not describe, except to say that it takes a turn we found ugly rather than shocking, and that Corbet stages it as if the ugliness were self-evidently an argument. It is not. We sat through the last hour angry, and not in the way the film intended: the turn is shot at a distance in near darkness, so we are asked to feel its weight without being allowed to see it, and Jancsó then cuts on as if the question were settled. The point about money and art and what patrons do to the people they buy had been made, clearly and well, before the interval. The second half makes it again in capital letters.

There is an epilogue, and we will not describe it either, except to say that it is a strange decision from a director who had, up to then, trusted his images to do the work. Ariane Labed is good in it. We still wished it had not been written.

Most critics have rated the film higher than we do, and we understand why: the first half is a real achievement, the two leads are working at full stretch, and nobody else is shooting on this scale with this much patience. Corbet made *Vox Lux* before this and it was a mess with a good idea in it. *The Brutalist* is the reverse, a beautifully made thing with an idea that runs out.

It is a film built for a big screen and an intermission, and the interval is there so you can argue. If you watch at home, do not pause. It is already long enough.

*Fi1m score 76, published 9 September 2026.*

## What the critics say

Most critics agree on the scale of the thing and, broadly, on its success. The praise clusters around Adrien Brody, whose performance as the Hungarian-Jewish architect is called astonishing, nuanced and devastating in review after review, with Guy Pearce singled out almost as often. The VistaVision cinematography and the score draw near-uniform admiration, and several reviews treat Brady Corbet’s ambition as a virtue in itself.

The reservations, where they appear, land in the same place: the final stretch. A number of otherwise warm notices find the second half heavy and the epilogue rushed or incomplete, and a few think the film too conscious of its own importance, the Financial Times among them. The spread is narrow at the top and thin at the bottom. The single outright dissent comes from The Telegraph, whose reviewer finds it bloated and dull while still conceding the strength of Brody, Jones and Pearce.

## Straight answers

**Is The Brutalist worth watching?**

*The Brutalist* is worth watching, and we scored it 76: a superb first half, an Adrien Brody performance that carries it, and a second half that loses its way. It suits anyone who will give a long, patient drama about art and money their whole evening. It runs 215 minutes with an intermission, and we found the last hour ugly rather than shocking.

**How long is The Brutalist, and what is it rated?**

*The Brutalist* runs 3h 35m and is rated R by the MPA in the US. It is a drama film.

**Where can I watch The Brutalist in the US?**

*The Brutalist* is streaming on HBO Max, The Roku Channel, Hulu and Amazon Prime Video in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Brutalist, and is it suitable for children?**

*The Brutalist* carries an 18 certificate in the UK and is not for children. Its violence is not constant; the trouble is a turn after the interval that we found ugly, staged in near darkness so its weight is felt rather than seen. Adults who dislike being made to sit through cruelty they cannot quite watch should know that going in.

**How does The Brutalist compare to There Will Be Blood?**

*The Brutalist* and [*There Will Be Blood*](https://film.one/film/there-will-be-blood) are both American stories of money and monomania, one built on concrete and one on oil. Anderson's film is the more gripping and frightening, and holds its nerve to the end despite gaps in its storytelling; Corbet's has the finer first half and the weaker second. Choose Anderson for tension, Corbet for scale and patience.

**What should I watch after The Brutalist?**

After *The Brutalist*, try [*There Will Be Blood*](https://film.one/film/there-will-be-blood) (2007, Fi1m 88): Another American money-and-monomania story, with an oil derrick where the concrete would be. Then [*Columbus*](https://film.one/film/columbus) (2017, Fi1m 82): A quiet film about modernist buildings and the people who stand in front of them.

### Reviews we read (24)

- **Little White Lies**, Hannah Strong (4/5/5): The critic calls it gorgeous capital-C Cinema and a staggering achievement, praising its breathtaking VistaVision visuals, score, and Brody’s phenomenal lead performance as a Jewish architect navigating post-war America. [Read](https://lwlies.com/reviews/the-brutalist)
- **Radio Times**, Emma Simmonds (5/5): The critic deems it an Oscar-worthy epic in length, weight and ambition that speaks volumes about America’s uneasy relationship with immigrants, praising its rich history, VistaVision aesthetic, intermission, and Brody and Pearce’s performances. [Read](https://www.radiotimes.com/movies/the-brutalist-review/)
- **The Times**, Kevin Maher (★★★★★): The critic calls it a majestic historical epic and the film to beat for the Oscars. It praises the savage performances, especially Brody and Pearce, and the extraordinary VistaVision cinematography. [Read](https://www.thetimes.com/culture/film/article/the-brutalist-film-review-adrien-brody-felicity-jones-kzxprv8xp)
- **Time Out**, Phil de Semlyen (5/5): The critic hails it as a major work of art and mighty, discordant anthem to modern America, commending its monumental parable on the American dream, creation, money, and love story, plus its technical craft and Brody’s Oscar-worthy turn. [Read](https://www.timeout.com/movies/the-brutalist-review-2024)
- **Empire**, Jamie Graham (90/100, inferred): The critic hails the film's epic, self-consciously important scope as a myth-making saga that propels forward despite its length and weighty themes. They single out the awe-inspiring visuals, Brody and Pearce's performances, and the director's ambition for particular praise. [Read](https://www.empireonline.com/movies/reviews/the-brutalist/)
- **The Guardian**, Wendy Ide (90/100, inferred): The critic hails the film as a remarkable, audacious achievement that moves Corbet into the ranks of cinema's heavy hitters. It singles out the rich, involving storytelling and exemplary craft, especially the cinematography and score. [Read](https://www.theguardian.com/film/2025/jan/26/the-brutalist-brady-corbet-review-colossal-architecture-drama-adrien-brody)
- **The New Yorker**, Justin Chang (90/100, inferred): The critic hails the film as an American epic of rare authority that inverts the American Dream through its story of a brilliant architect's exploitation and abuse in the US. It singles out the powerful performances, especially Brody's, and the film's thematic depth on capitalism and assimilation for praise. [Read](https://www.newyorker.com/magazine/2024/12/30/the-brutalist-movie-review)
- **Evening Standard**, Tom Davidson (85/100, inferred): The review calls the film a colossal, impeccably paced filmmaking triumph and brutal parable about the immigrant experience. It singles out Brody's nuanced, detailed performance for praise while noting some heavy-handed elements and flaws in the ending. [Read](https://www.standard.co.uk/culture/film/the-brutalist-film-review-this-propulsive-odyssey-is-a-filmmaking-triumph-b1201680.html)
- **The i Paper**, Christina Newland (85/100, inferred): The critic describes the film as a work of staggering mystery and power that demands rapt attention and repays it with triumphant artistry. They single out Brody's astonishing performance and the visual grandiosity for praise. [Read](https://inews.co.uk/culture/film/adrien-brody-the-brutalist-review-oscar-3491787)
- **Los Angeles Times**, Amy Nicholson (70/100, inferred): The critic views the film as an ambitious epic about the high price of artistic perfection and the fraught artist-patron relationship, with strong ideas and craft despite some flaws. It singles out the director's brains and vision, along with the lead performances, for praise while noting issues in the final stretch. [Read](https://www.latimes.com/entertainment-arts/movies/story/2024-12-18/the-brutalist-review-adrien-brody-guy-pearce-brady-corbet-felicity-jones)
- **Vulture** (65/100, inferred): The critic finds the film an audacious three-and-a-half-hour American saga anchored by a terrific Adrien Brody performance, but concludes that its grand ambitions ultimately exceed its grasp despite impressive craft and scope. [Read](https://www.vulture.com/article/the-brutalist-review-half-of-a-great-movie.html/)
- **The Telegraph**, Simon Heffer (20/100, inferred): The critic finds the film bloated, dull and self-indulgent, a slog that will soon be forgotten. It complains about the implausible story and excessive length while acknowledging strong performances from Brody, Jones and Pearce. [Read](https://www.telegraph.co.uk/films/0/the-brutalist-ayn-rand-the-fountainhead/)
- **Financial Times**, Danny Leigh (★★★☆☆): The critic sees a towering but flawed paean to perfectionism that insists upon itself. It praises Brody's photorealistic performance but faults the self-conscious borrowings and heavy-handed execution. [Read](https://www.ft.com/content/ba3a6e13-9139-4afe-8e15-1b9abbc6ed64)
- **Screen Daily**: The critic finds it a meticulous, visually magnificent Venice Silver Lion winner about a Hungarian-Jewish architect in post-war America, admiring its VistaVision shooting, score, and cast (especially Pearce) while noting longueurs, narrative inertia, and lack of humour make it hard to love. [Read](https://www.screendaily.com/reviews/the-brutalist-venice-review/5196723.article)
- **Sight and Sound**: The critic praises Corbet’s ambitious, distinctive post-war epic about a Holocaust survivor architect building a new life in America, highlighting its vast scope, strong performances by Adrien Brody and Felicity Jones, and how it explores history, survival, and perspective without meandering despite its length. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/brutalist-ambitious-american-saga-shows-distinctive-vision-brady-corbet)
- **The Hollywood Reporter**, David Rooney: The critic praises Brady Corbet's ambitious, novelistic epic about a Hungarian Jewish architect's immigrant experience in America as bold and enveloping, with a devastating central performance by Adrien Brody that conveys both genius and humiliation. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-brutalist-review-adrien-brody-brady-corbet-1235985981/)
- **The New York Times**, Manohla Dargis (Critic’s Pick): The critic praises the film as a grave, serious, visually sumptuous saga of bold visions and outsized ambitions that explores tensions between art and commerce, immigration, and modernity. It singles out the haunting lead performance and the movie's expansive ideas as strengths. [Read](https://www.nytimes.com/2024/12/19/movies/the-brutalist-review.html)
- **/Film**, Chris Evangelista (10/10): The critic hails it as a masterpiece, an overwhelming triumph comparable to classics like Citizen Kane, praising its ambition, performances, cinematography, and how it captures the American experience. [Read](https://www.slashfilm.com/1739365/the-brutalist-review/)
- **NME**, Paul Bradshaw (5/5): The critic hails it as an unmissable giant of a film that deserves Oscars. They praise the electrifying performances by Brody and Pearce, the jagged score, and Corbet's assured direction in this epic about obsession, art, and the American Dream. [Read](https://www.nme.com/reviews/film-reviews/the-brutalist-review-adrien-brody-guy-pearce-3830465)
- **The Skinny**, Patrick Gamble (★★★★★): The critic lauds Brody's career-best performance in this ambitious epic. They highlight Corbet's exploration of the immigrant experience and the exploitative nature of the American Dream through the architect's story. [Read](https://www.theskinny.co.uk/film/new-releases/the-brutalist)
- **Collider**, Ross Bonaime (8/10): The critic finds The Brutalist an ambitious, towering achievement that warrants its epic scope despite occasional stumbles in the second half. Adrien Brody delivers a career-best performance as the Holocaust survivor architect navigating the American dream. [Read](https://collider.com/the-brutalist-review/)
- **The Wrap** (80/100, inferred): The review praises the film's novelistic form and enthralling journey through assimilation, immigration, and American ambition. It singles out Adrien Brody's anchoring performance and the visual evocations of midcentury modernists for praise. [Read](https://www.thewrap.com/the-brutalist-review-adrien-brody-brady-corbet/)
- **Film Stories**, Maria Lattila (75/100, inferred): The critic praises the film's intimate and humane portrayal of an immigrant's journey and its grandeur, but notes the ending feels rushed and incomplete, leaving it short of perfection. It highlights Adrien Brody's performance as the carrying force. [Read](https://filmstories.co.uk/reviews/the-brutalist-review-brady-corbets-magnum-opus-is-well-worth-your-time)
- **Deadline**, Damon Wise (60/100, inferred): The critic finds the film flawed but fascinating, falling somewhat short of its lofty target yet casting a strange spell with imagination. It singles out the 70mm cinematography and the practical possibilities of cinema for praise, while critiquing the heavy second half and epilogue. [Read](https://deadline.com/2024/09/the-brutalist-brady-corbet-mona-fastvold-70mm-epic-adrien-brody-guy-pearce-felicity-jones-venice-film-festival-1236075168/)

## Details

- **Director:** Brady Corbet
- **Director:** Brady Corbet
- **Writer:** Brady Corbet, Mona Fastvold
- **Cinematography:** Lol Crawley
- **Editor:** Dávid Jancsó
- **Music:** Daniel Blumberg
- **Production design:** Judy Becker
- **Costume design:** Kate Forbes
- **Producer:** Nick Gordon, D.J. Gugenheim, Andrew Lauren
- **Cast:** Adrien Brody as László Tóth; Felicity Jones as Erzsébet Tóth; Guy Pearce as Harrison Lee Van Buren Sr; Joe Alwyn as Harry Lee; Raffey Cassidy as Zsófia; Stacy Martin as Maggie Lee; Isaach de Bankolé as Gordon; Alessandro Nivola as Attila
- **Runtime:** 3h 35m
- **Certificate (MPA):** R
- **Release (the US):** 24 January 2025
- **Genres:** Drama
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2024); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 2024); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Winner, 2024)
- **Budget:** $10 million
- **Box office:** $50 million
- **Trailer:** https://www.youtube.com/watch?v=GdRXPAHIEW4

## Where to watch in the US

- HBO Max: streaming, uhd
- The Roku Channel: add-on, hd
- Hulu: add-on, hd
- Amazon Prime Video: add-on, uhd
- Amazon Prime Video: rent $4.99, uhd
- Apple TV: rent $5.99, hd
- Amazon Prime Video: buy $19.99, uhd
- Apple TV: buy $19.99, hd

*Checked 2026-09-10.*

Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2025: Best Picture (nominated)
- Amanda Award for Best Foreign Feature Film 2025: Amanda Award for Best Foreign Feature Film (won)
- FIPRESCI Grand Prix 2025: FIPRESCI Grand Prix (nominated)
- Golden Globes 2025: Best Motion Picture – Drama (won)

## If you liked this

- *There Will Be Blood* (2007), Fi1m 88: Another American money-and-monomania story, with an oil derrick where the concrete would be. — [Fi1m page](https://film.one/film/there-will-be-blood.md)
- *The Fountainhead* (1949): Vidor’s architect film, absurd and sincere, and the ancestor Corbet is plainly answering.
- *Sunshine* (1999): Three generations of a Hungarian-Jewish family, with Ralph Fiennes playing all of them.
- *Columbus* (2017), Fi1m 82: A quiet film about modernist buildings and the people who stand in front of them. — [Fi1m page](https://film.one/film/columbus.md)
- *The Immigrant* (2013): Marion Cotillard arrives at Ellis Island and is promptly bought; two hours, no intermission.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-brutalist