The Brutalist, an epic drama loosely inspired by architect Marcel Breuer’s life and work, has emerged as a strong contender for this year’s Oscars, earning 10 nominations, including Best Picture. However, the film has sparked criticism from design experts who challenge its historical accuracy and portrayal of Brutalist architecture.
The film’s protagonist, Laszlo Toth, is described by director Brady Corbet as an amalgamation of renowned architects, most notably Breuer. Much like Breuer, Toth is depicted as a Hungarian-born Jewish architect who studied at the Bauhaus school in Germany before immigrating to the United States. Both the fictional and real-life figures initially gained fame for designing iconic chairs before focusing on monumental architectural works, including religious structures in remote parts of America. Corbet cited Breuer’s involvement with Saint John’s Abbey in Minnesota as a key inspiration for the film.
Despite the title, the film features little actual Brutalist architecture until its final scenes. Brutalism, known for its raw concrete surfaces and bold geometric forms, emerged during Europe’s post-war reconstruction in the 1950s. Critics have noted that the architectural style shown in the movie’s climax resembles early modernism rather than true Brutalism.
Beyond design misrepresentations, historians argue the film distorts the timeline of modernist architecture’s rise in the United States. While Toth is portrayed as a Holocaust survivor struggling in post-war America, Breuer and his contemporaries arrived in the U.S. during the 1930s, already acclaimed and welcomed into prestigious roles at institutions like Harvard University. Furthermore, Toth’s portrayal as a religious heroin addict contrasts sharply with Breuer’s sober, secular lifestyle.
AI technology was used during the film’s production, particularly for generating architectural renderings and enhancing actors’ Hungarian accents. Director Corbet clarified that blueprint designs were hand-drawn, while AI was employed to create intentionally outdated digital renderings for the epilogue.
Despite the historical and architectural critiques, The Brutalist remains a leading contender for major awards. Some experts, like architect Robert McCarter, view the creative liberties as acceptable for dramatic storytelling. Meanwhile, monks at Saint John’s Abbey, which served as inspiration, have welcomed the attention, regardless of the film’s artistic interpretations.
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