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The Brutalist is film released in 2024, directed by Brady Corbet, starring Adrien Brody, Guy Pearce, and Felicity Jones.
Though the film is lengthy and at times challenging to watch, it delves into thought-provoking themes and raises important questions, particularly regarding the structure of power and influence, and what these dynamics mean for an artist and an immigrant.
The Plot
The Brutalist (2024) follows László Toth, a Hungarian-Jewish architect who emigrates to post-war America in pursuit of success. As he ascends in the world of architecture, he confronts moral and personal compromises, navigating power struggles and the harsh realities of artistic ambition. The film examines the tension between visionary ideals and survival, revealing the unseen forces that shape both creative and social hierarchies.
A few words on Brutalism
Brutalism is an architectural style from the 1950s to the 1970s, characterized by the use of raw concrete, massive geometric shapes, and a functional aesthetic. It favors visible, undecorated structures, emphasizing the material and the construction itself.
This style, often found in social housing projects or public institutions, rejects ornamentation in favor of simplicity and robustness. Although criticized for its cold and inhospitable appearance, it has experienced a resurgence in interest and is now appreciated for its material honesty and strong visual impact.
The Reality of Hierarchical Structures
In The Brutalist, hierarchy is portrayed not merely as a social construct but as an inescapable force that shapes ambition, power, and survival. Through László Toth’s journey as a visionary architect in post-war America, the film explores how real hierarchies function beyond idealized notions of meritocracy and talent.
The film dives into the silent battles for influence, the price of success, and the invisible forces that determine who rises and who falls. The Brutalist offers a raw, unvarnished look at the realities of power—where talent alone is never enough, and the societal architecture is as unforgiving as the concrete structures that define its aesthetic.
The Truth About Aristocracy
The division between old and new money has long existed. Old money is traditionally associated with aristocratic families who, through generations of exploitation, have established systems that generate wealth by controlling production means, land, and other valuable resources.
These families are deeply woven into the fabric of the system, with attorneys, politicians, and other influential figures often falling within their sphere of influence, much like Harrison Lee Van Buren Sr. This makes it harder for new competitors to emerge.
The purpose of aristocracy is to detach social standing from competence or talent, recognizing that these qualities are inherently unpredictable, much like intelligence and genetics. The entire point of constructing a dominance hierarchy is to ensure that your clan holds power and influence at all times.
The Truth About Talent
While society generally respects talent, human nature makes it difficult for individuals to fully acknowledge the superiority of others, driven by ego and self-preservation.
In the film, László Toth emerges as the only character with genuine talent. While others may be well-educated and competent, only he possesses this rare genius— this genius is linked to an unwavering commitment to truth and art that remains untainted by money or self-interest.
This evokes both admiration and resentment. For instance, Harrison acknowledges László’s exceptional artistic talent—something he himself lacks—but his wealth and ambition drive him to exploit it for his own gain, seeking to appropriate László’s brilliance through a grandiose, self-serving project.
The only distinction between total rejection after the discovery of the library and a courteous attitude lies in the value that László Toth can provide to Harrison through his work. A form of recognition, far beyond his wealth, that he would be incapable of generating on his own.
The Truth About Power
As depicted in a disturbing scene, Harrison’s resentment and jealousy drive him to attempt to physically and sexually dominate László Toth, whom he wants to perceives as an inferior being because of his refusal to succumb to corrupted power dynamics. It is a way for him to reaffirm his illusion of superiority and his narrative.
While Harry Lee, the son, engages in a similar game of dominance, it never escalates into physical conflict. The dynamics remain the same: a struggle for power and the reinforcement of an illusion of superiority.
This dynamic helps explain why, for instance, attractive female second generation immigrants tend to be integrated more easily than their male counterparts. They are not perceived as a threat or direct competition in the social and economic hierarchy.
The Truth About Society
The Brutalist raises a crucial question about the nature of meritocracy: can it truly exist, or is it just an illusion? The ideal of meritocracy suggests that individuals succeed based on talent and effort, but the film reveals how societal structures often undermine this concept. Talent alone is not enough to guarantee success; wealth, influence, and power dynamics play a far greater role in determining who rises and who remains sidelined.
The film forces us to confront the uncomfortable truth that society’s systems are not built on fairness but on the preservation of power. While merit is still valued in certain circles and overall, those in control manipulate resources and opportunities, making meritocracy a distorted ideal. The Brutalist challenges us to reconsider whether success is ever truly based on merit or if it is always shaped by hidden forces that perpetuate existing hierarchies.
A society can be designed in a way that allows you to create and benefit from your skills, but only if you agree to relinquish the majority of the value produced to those who are allow to exploit, thereby stripping you of your fundamental right to sovereignty over the fruits of your labor. A requirement from which, of course, the leaders of this structure exempt themselves.
The truth about being an outsider
Being an immigrant or a minority inherently places you on the outside. As seen with László Toth, this often means you may never be fully accepted, only tolerated as long as you comply with being exploited by those who, through power dynamics, are considered superior within the system.
One must not be naive: nothing is truly free in life. If some things appear to be, it is only because they represent an investment for future exploitation. For example, school in order to become an employee, or an inheritance tax on assets financed by income that has already been fully taxed, leading to potentially infinite taxation, surpassing even their original acquisition cost over generations.
While this dynamic may be understandable within a country with the need to protect its own history and culture, the fact that this movie is set in the USA—the so-called land of opportunity and freedom—only deepens the question.
A Forbidden Assertiveness
In the film Brutalist, where László Toth is marginalized due to his background and social status as a minority, his assertiveness is stifled, compelling him to remain submissive despite his inner turmoil. This dynamic is starkly portrayed in the scene where Harrison demands they leave, and his son, representing the oppressive structures that fuel their plight, refuses to pay. This dynamic is also evident with his cousin Attila’s wife. The only individuals considered equals in terms of social standing are Gordon and his son, as both belong to the minority group.
In this moment, Toth’s sense of justice and his attempts at asserting his rights are drowned out by the overwhelming power imbalance that governs his life. Forced into silence after repeated exploitation, he endures a painful cycle of subjugation, unable to break free until he eventually exits the system, reflecting the crushing weight of societal forces that limit the agency of those on the margins.
Culture and bloodline outweighs competence
One of the most intriguing parts of the movie is the time László spends with his cousin Attila, who realizes that to ascend the social hierarchy, he must abandon his identity—changing his name, converting his faith, and even marrying into the culture. Perhaps even turn against your own people or origins in favor of this new culture as the ultimate proof of his loyalty.
This is because people tend to prefer working with someone who shares the same culture and value system, even if that person is less competent. To be fair, this holds true regardless of skin color; for instance, startups often prioritize cultural fit in their recruitment process to ensure cohesion within the team.
However, this means that Attila must abandon his true identity in favor of a persona, even going as far as considering it inferior, in order to be accepted, which amounts to belittling himself and sacrificing his soul.
This change is not possible for László Toth because his talent is deeply rooted in his identity and authenticity, and conformity would destroy the unique voice that defines him, as demonstrated by the second architect, Jim Simpson.
Going back to their homeland
Ultimately, the couple decides to return to their homeland, believing that everything in the land of the free is corrupted—an idea introduced early in the movie with a reverse shot of the Statue of Liberty upside down.
The wife ensures that the Harrison family grasps the truth, which they seemed to already know but refused to accept, while Harrison disappears, suggesting that he took his own life, proving karma and Divine justice right.
It is often possible to discern a society’s dysfunctions by paying attention to certain statistical anomalies. For example, has someone from a modest background who shares your backgrond ever managed to attain a favorable position? Or, on the contrary, do they systematically have to adjust their identity and aspirations to align with the system’s expectations?
If someone has managed to regain a sense of autonomy, did they have to explore other paths and opportunities based more on merit?
The niece, Zsófia, seemed convinced that returning to their home country, despite the hardships, is the only path to true liberation through reconnecting with their identity—suggesting that László Toth and his wife, Erzsébet Toth, had somehow lost their way in the process. Especially considering that their professional status has significantly declined compared to when they lived in Budapest. In a way, authenticity is more important than the promise of money or financial success, especially when they are in reality exploitation.
Conclusion
The Brutalist presents a powerful and unflinching exploration of the complexities of power, identity, and societal structures, as experienced through the journey of László Toth, a Hungarian-Jewish architect trying to navigate the post-war American dream. Through its portrayal of László’s struggles, the film dissects the illusion of meritocracy and reveals how hidden forces of wealth, influence, and cultural biases shape who succeeds and who is left behind.
In a world where talent alone is insufficient, and the pursuit of power often comes at the expense of personal identity, the film raises profound questions about the fairness of social systems and the true cost of success.
By focusing on László’s journey and his interactions with others, including his cousin who abandons his identity to climb the social ladder, The Brutalist emphasizes the ways in which culture and conformity often outweigh competence and talent. Ultimately, the film suggests that true meritocracy may be unattainable, as power dynamics continuously prevent true equality. The decision of László and his wife to return to their homeland, disillusioned by the corruption they find in America, serves as a poignant commentary on the disillusionment many experience when confronted with the harsh realities of societal hierarchies.
The Brutalist is a stark examination of the struggles faced by immigrants, artists, and those who refuse to conform, challenging the audience to rethink the nature of success, power, and identity in a deeply flawed system, where group identity and the people who are willing to exploit others can win over pure moral or competence.
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