The Brutalist

It is easy to conclude that Adrien Brody “steals the show” in his depiction of Laszio Toth in The Brutalist (2024), a film about a Jewish architect (and his wife and niece) who emigrates to Pennsylvania from Hungary after World War II. As I was stretching my legs after watching the very long yet captivating film in a theater, a woman doing the same declared to me that Adrien Brody had definitively stolen the show. I wasn’t quite sure, though I perceived Guy Pearce’s acting out Harrison Van Buren to be emotionally fake, even forced. In understanding the film, it is vital to go beyond the obvious characters (and actors) to acknowledge the roles of two silent yet very present characters as definitive for the meaning of the film. Before revealing those characters, the proverbial elephant in the room must be discussed: Being Jewish even in the modern, “progress”-oriented world.

The full essay is at "The Brutalist."

Emilia Pérez

In handling social ethics, especially if the topic is controversial, film-makers must decide, whether consciously or not, whether to advocate or elucidate. Whereas the former is in pursuit of an ideology, the latter is oriented to teasing out via dramatic tensions the nuances in a typical normative matter that move an audience beyond easy or convenient answers to wrestle with the human condition itself as complex. This is not to say that advocation should never have a role in film-making; The film, Schindler’s List (1993), for example, provides a glimpse into the extremely unethical conduct of the Nazi Party in ruling Germany. I submit that the vast majority of ethical issues are not so easily decided one way or the other as those that arose from Hitler’s choices regarding communists, Slavs in Eastern Europe, intellectuals, Jews, homosexuals and the disabled. In relative terms, the ethical controversy surrounding transsexuals is less severe and clear-cut. The value of elucidating is thus greater, as are the downsides of prescribing ideologically. One such drawback to indoctrinating on a controversial issue is that the ideological fervor in making the film for such a purpose can blind a film-maker to the cogency of the arguments made in favor of advocated stance on the issue. The film, Emilia Pérez (2024), illustrates this vulnerability, which I submit is inherent to ideology itself.

The full essay is at "Emilia Pérez."