Get an exclusive look behind the scenes of ‘The Brutalist’, a cinematic masterpiece that weaves a poignant tale of legacy and impermanence. Directed by Brady Corbet, this indie film tells the story of Hungarian architect László Tóth’s community center in Pennsylvania, but it’s really about how he is remembered by his niece.
The article discusses the making of the indie film “The Brutalist”, directed by Brady Corbet and written by Brady Corbet and Zsófia Szilágyi. The film tells the story of László Tóth, a Hungarian architect who designs a massive community center in Pennsylvania, but it’s actually about his legacy and how he is remembered by his niece.
The article highlights the challenges faced by the filmmakers during production. Corbet and Fastvold worked on the script for seven years before filming began, and they had to work with limited resources, shooting most of the film in Hungary, where they doubled as Pennsylvania. The local crew helped inspire Brody’s vocal inflections, and the production designer Judy Becker used existing locations and models to create the community center.
The cinematographer Lol Crawley chose to use the VistaVision format, which was mostly used in the 1950s and 1960s, to capture the film’s story. This choice was intentional, as it added to the era-appropriate aesthetic of the film. However, Crawley had to supplement this format with other cameras due to its size and flexibility limitations.
The article also discusses the themes and messages of the film. Corbet emphasizes that “The Brutalist” is not just about László’s work, but about his legacy and how he is remembered by others. The film’s use of outdated formats, such as VistaVision and Digibeta, adds to this message, highlighting the impermanence and fragility of artistic achievements.
Key points from the article:
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The film was shot on location in Hungary, doubling for Pennsylvania.
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The production designer used existing locations and models to create the community center.
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The cinematographer chose to use VistaVision format, which added to the era-appropriate aesthetic of the film.
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The film’s themes focus on László’s legacy and how he is remembered by others.
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The use of outdated formats highlights the impermanence and fragility of artistic achievements.
Main characters mentioned:
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László Tóth: a Hungarian architect who designs a massive community center in Pennsylvania.
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Zsófia (Ariane Labed): László’s niece, who gives a speech honoring her uncle’s work in the film’s epilogue.
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Erzsébet (Felicity Jones): László’s wife, whose presence threatens Van Buren’s relationship with Tóth.
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Van Buren (Ben Whishaw): a wealthy businessman who commissions Tóth to design the community center.
Main themes:
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Legacy and how it is remembered by others
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Impermanence and fragility of artistic achievements
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Power dynamics between characters, particularly between Tóth and Van Buren.
