The Brutalist, 2024, United Kingdom
Directed By: Brad James Corbet
Language: English
drama, 03h35min
1947. Hungarian-born Jewish architect L / C / zl / Toth arrives in America to build a new life there. He settles in Pennsylvania, hoping to be soon joined by a consort stranded in Eastern Europe. While doing casual work, his talent is recognized by the wealthy industrialist Harrison Lee Van Buren, who commissions a seemingly dream project for L'accszl …
Trailer : https://www.youtube.com/watch?v=EeNNtWAHZLA
A monumental epic about a Jewish architect who learns the dark side of the American Dream in the aftermath of World War II. Silver Lion for Best Director in Venice.
Pre-sale of tickets: Alga Gallery.
portrait of the author
Born in 1988 in the United States, Brad James Corbet began his professional career as an actor. It was in the Hanekejevi of the american version of Funny games (Funny Games), by Trierjevi Melanholiji (Melancholia), Assayasovih All over the Sils Mario (Clouds of Sils Maria), and the Östlundovi of force majeure (Force Majeure). He made his directorial debut in 2015 with the childhood of a Leader (), a portrait of a young American in post-World War I France who grows up to become a fascist dictator. The Film received the award for Best Director in the horizon section of the Venice Film Festival. Also shown in Venice was the director's next film, Vo magazine Lu Magazine (2018), the story of the rise of a pop star (Natalie Portman), set against the backdrop of gun violence and the 11 attacks. on Sept. The Brutalist is Corbet's third feature film.
criticism
"In three and a half hours /.../ Corbet deconstructs the American myth with surgical precision, using the same sharp geometric lines as its protagonist. / ... / Brutalism is a strictly functional direction that advocates simplicity and frankness. In a building consisting of corners and open spaces, there is nowhere to hide. Just as there is nowhere to hide in the Brutalist, a film through which the capitalist rot of the last eighty years spreads like a fog. / ... / We hear the word’ epic ' in the film world every few months, because it is glued to every festival favorite that is in fashion at that moment-but how else to describe Corbet's narrative range /.../ and craft skill? / ... / Each frame is a hopper portrait of American individualism and isolation.«
- Hannah Strong, Little Animkhite Lies
"It's not just that they don't make such films anymore – of course they don't! – , but more for the fact that the voluminous stories of this type are no longer approached by anyone with such a level of storytelling skill, technical perfection, boldness and dedication.«
- David Fear, Rolling Stone
"It is not often that a work of art is revealed to the viewer as a masterpiece already at the premiere. / ... / The new film by Brad Photo by Corbet is a revelation from the first moment of viewing. / ... / The Brutalist seems like another attempt by the director to attract attention. The Film, which does not save on anything, lasts three and a half hours, with a fifteen-minute break in the middle /.../, and is filmed in the VistaVision format. / ... / But although at first glance it might seem that this is an empty spectacle, the initial surprise is soon joined by depth, emotion and simple beauty. / ... / The director, in his radical style (both with story and form), invites us on a journey into the distant past, but not as an archaeologist, but in order to put before our eyes a film that addresses the troubled present. The fascism of yesterday is the fascism of today, and the capitalism of that time swallows with the same appetite as the modern one. Memory is important, both historical and visual; a moment of lucidity that lasts more than three hours of this very personal work. This is a story that belongs to all of us.«
- Luis Mart Changnez, El Mundo
"The Brutalist passes in the blink of an eye: both during and after viewing, it gives the impression of the shortest long film ever made. As a historical epic about the state of the United States, it boasts the thematic weight of the films Once Upon a time in America () and there Will be blood (). (How did the wave of postwar immigrants transform America – and how did America transform them?) In addition, it is played with the colorfulness and sparkle of the classic Holl-style comedy drama and filmed with the free, relaxed energy of a 90-minute independent cult hit. The tone mix is super unique, but it works. / ... / This is a film like a monument, but at the same time full of human spirit.«
- Robbie Collin, The Telegraph
"The Brutalist, in describing the American immigrant adventure and the promise of success, is clearly fed by a / C Rand, as well as Bernard Malamud and Saul Bello / a / C – but Corbet and Mona Fastvold may get a little deeper and faster how sensual and sexual it all is. The Film shows us violence and brutality (which is not the same as ‘Brutalism’), a companion of capitalist defeat and success /.../. I came out of the cinema dizzy and euphoric, stunned by its monumental dimension.«
- Peter Bradsha / The Guardian
"In the Brutalist, the artist suffers, but not for art: he suffers simply for what history has inflicted on him. Corbet's film is an exceedingly grand building, but the director is interested in both the crumbling foundations and the skyward-reaching peaks.«
- John Bleasdale, Sight and Sound
The Brutalist, 2024, Velika Britanija
Režija: Brady Corbet
Jezik: angleščina
drama, 03h35min
1947. Na Madžarskem rojeni judovski arhitekt László Toth prispe v Ameriko, da bi si tam zgradil novo življenje. Ustali se v Pensilvaniji, upajoč, da se mu kmalu pridruži soproga, ki je obtičala v Vzhodni Evropi. Medtem ko opravlja priložnostna dela, njegov talent prepozna bogati industrialec Harrison Lee Van Buren, ki Lászlu naroči na videz sanjski projekt …
Napovednik : https://www.youtube.com/watch?v=EeNNtWAHZLA
Monumentalen ep o judovskem arhitektu, ki v času po drugi svetovni vojni spoznava temno plat ameriških sanj. Srebrni lev za najboljšo režijo v Benetkah.
Predprodaja vstopnic : Galerija Alga.
portret avtorja
Brady Corbet, rojen leta 1988 v ZDA, je poklicno pot začel kot igralec. Nastopil je v Hanekejevi ameriški različici Smešnih iger (Funny Games), von Trierjevi Melanholiji (Melancholia), Assayasovih Oblakih nad Sils Mario (Clouds of Sils Maria) in Östlundovi Višji sili (Force Majeure). Kot režiser je debitiral leta 2015 z Otroštvom voditelja (The Childhood of a Leader), portretom mladega Američana v Franciji po prvi svetovni vojni, ki odraste v fašističnega diktatorja. Film je prejel nagrado za najboljšo režijo v sekciji Obzorja beneškega filmskega festivala. V Benetkah je bil prikazan tudi režiserjev naslednji film Vox Lux (2018), zgodba o vzponu pop zvezdnice (Natalie Portman), postavljena pred ozadje strelskega nasilja in napadov 11. septembra. Brutalist je Corbetov tretji celovečerec.
kritike
»Corbet v treh urah in pol /…/ s kirurško natančnostjo dekonstruira ameriški mit, pri čemer uporablja enake ostre geometrijske linije kot njegov protagonist. /…/ Brutalizem je strogo funkcionalna smer, ki zagovarja preprostost in odkritost. V stavbi, sestavljeni iz kotov in odprtih prostorov, se ni mogoče nikamor skriti. Tako kot se ni mogoče nikamor skriti v Brutalistu, filmu, skozi katerega se kot megla širi kapitalistična gniloba zadnjih osemdesetih let. /…/ Besedo ‘epski’ v filmskem svetu slišimo vsakih nekaj mesecev, saj jo prilepijo na prav vsakega festivalskega ljubljenca, ki je v tistem trenutku v modi – toda kako drugače opisati Corbetov pripovedni razpon /…/ in obrtniško spretnost? /…/ Vsak kader je hopperjevski portret ameriškega individualizma in izolacije.«
– Hannah Strong, Little White Lies
»Ne gre le za to, da takšnih filmov ne snemajo več – seveda jih ne! –, ampak bolj za to, da se obsežnih zgodb tega tipa nihče več ne loteva s takšno stopnjo pripovedovalske spretnosti, tehnične dovršenosti, drznosti in predanosti.«
– David Fear, Rolling Stone
»Ne zgodi se prav pogosto, da bi se umetniško delo gledalcu že ob premieri razkrilo kot mojstrovina. /…/ Novi film Bradyja Corbeta je razodetje od prvega trenutka ogleda. /…/ Brutalist se zdi kot še en režiserjev poskus pritegovanja pozornosti. Film, ki ne varčuje z ničemer, traja tri ure in pol, s petnajstminutnim premorom na sredini /…/, posnet pa je v formatu VistaVision. /…/ A čeprav bi se lahko na prvi pogled zdelo, da gre za prazen spektakel, se začetnemu presenečenju kmalu pridružijo globina, čustva in preprosta lepota. /…/ Režiser nas v svojem radikalnem slogu (tako z zgodbo kot obliko) povabi na potovanje v daljno preteklost, a ne kot arheolog, temveč da bi pred naše oči postavil film, ki nagovarja težavno sedanjost. Fašizem včerajšnjega dne je fašizem današnjega, takratni kapitalizem pa golta z enakim apetitom kot sodobni. Pomemben je spomin, tako zgodovinski kot vizualni; trenutek lucidnosti, ki traja več kot tri ure tega zelo osebnega dela. To je zgodba, ki pripada vsem nam.«
– Luis Martínez, El Mundo
»Brutalist mine, kot bi mignil: tako med ogledom kakor po njem daje vtis najkrajšega dolgega filma, kar jih je bilo kdaj posnetih. Kot zgodovinski ep o stanju ZDA se ponaša s tematsko težo filmov Bilo je nekoč v Ameriki (Once Upon a Time in America) in Tekla bo kri (There Will Be Blood). (Kako je val povojnih priseljencev preoblikoval Ameriko – in kako je Amerika preoblikovala njih?) Poleg tega je odigran z barvitostjo in iskrivostjo klasične hollywoodske komične drame ter posnet s svobodno, sproščeno energijo 90-minutne neodvisne kultne uspešnice. Tonska mešanica je nadvse edinstvena, a deluje. /…/ To je film kot spomenik, a hkrati poln človeškega duha.«
– Robbie Collin, The Telegraph
»Brutalist se pri opisovanju ameriške priseljenske pustolovščine in obljube uspeha očitno napaja pri Ayn Rand, pa tudi pri Bernardu Malamudu in Saulu Bellowu – toda Corbet in Mona Fastvold morda še nekoliko globlje in hitreje dojameta, kako zelo čutno in seksualno je vse skupaj. Film nam pokaže nasilje in brutalnost (kar ni isto kot ‘brutalizem’), spremljevalca kapitalističnega poraza in uspeha /…/. Iz kina sem prišel omotičen in evforičen, omamljen od njegove monumentalne razsežnosti.«
– Peter Bradshaw, The Guardian
»V Brutalistu umetnik trpi, vendar ne za umetnost: trpi preprosto zaradi tistega, kar mu je prizadejala zgodovina. Corbetov film je nadvse veličastna stavba, toda režiserja zanimajo tako razpadajoči temelji kot v nebo segajoči vrhovi.«
– John Bleasdale, Sight and Sound