Brady Corbet's The Brutalist is a serious, demanding, three-and-a-half-hour epic that positions itself as a meditation on the American Dream, artistic integrity, and the immigrant experience. It is the most ambitious American film of 2024 and also the most explicitly anti-capitalist. These two things are not unrelated. Corbet has made a film that treats the United States as a beautiful trap: a country that advertises freedom and delivers exploitation. Whether you find that thesis persuasive will determine how you experience the film's considerable formal achievements.

Adrien Brody plays László Tóth, a Jewish-Hungarian architect who survived the Holocaust and emigrated to the United States after World War II. He arrives with nothing but his genius and his memories of horror. He is taken in by his cousin Attila (Alessandro Nivola), a furniture dealer in Pennsylvania who has converted to Catholicism to assimilate more effectively. László struggles: addiction, rootlessness, the grief of survival. Then he comes to the attention of Harrison Lee Van Buren (Guy Pearce), a wealthy Pennsylvania industrialist who commissions László to design a community center on his estate. This is the engine of the film: the relationship between the immigrant artist of towering talent and the American patron whose generosity is inseparable from his need for ownership.

Guy Pearce is extraordinary as Van Buren. The character is not a cartoon villain. He has genuine affection for László and genuine appreciation for the work. But his affection is possessive. His patronage is conditional. He wants to own not just the building but the man. The film draws its most uncomfortable parallel in a late scene that has been widely discussed: Van Buren's assault on László during a trip to Italy. This act of violation is presented as the ultimate expression of the patron's relationship to the artist: I have bought you and therefore I may take whatever I want. It is a devastating scene, and the film earns it through three hours of careful preparation. It is also the film's most ideologically pointed moment: capitalism as rape.

This is, to be direct, an anti-capitalist film. The American Dream is presented as a promise that is kept only in the most technical sense while being broken in every meaningful one. László achieves recognition. He builds his monument. His wife Erzsébet (Felicity Jones, luminous and heartbreaking) eventually joins him. But the recognition comes on Van Buren's terms, the monument belongs to Van Buren's legacy, and the wife arrives disabled from imprisonment and deprivation. America gives László a career and takes nearly everything else.

Where the film is less ideologically tidy, and more genuinely interesting, is in its treatment of László's own character. He is not a passive victim. He is driven, difficult, addicted to heroin, and capable of cruelty to the people who love him. The film is not presenting a saintly immigrant; it is presenting a flawed, brilliant man who deserves better than what he receives. This distinction matters. The critique of American capitalism is more honest when its target is a complex person rather than a martyr.

Conservative viewers will have specific objections. The film's thesis, that America's promise to immigrants is a lie underpinning a system of exploitation, is unmistakable. The wealthy American businessman is the antagonist. The immigrant genius is the moral center. Jewish heritage is treated with genuine respect and weight, which is a traditional value even if the broader film is not. The marriage between László and Erzsébet is the emotional heart of the story, and it is rendered with genuine tenderness. Erzsébet's faith and dignity are never condescended to. The film's ending, in which an aged László addresses an architectural conference in Israel, frames survival and creation as its own form of victory. Whether that constitutes a conservative or progressive ending depends on your framework.

The craft is undeniable. Shot in VistaVision with extraordinary scope, The Brutalist looks like nothing else in contemporary cinema. At 215 minutes it is punishing to watch, but not padded. This is a film that earns its length. Conservative viewers who choose to engage should go in knowing exactly what they are getting: a beautifully made, seriously intended, unmistakably anti-capitalist epic about an immigrant artist destroyed and remade by America. The traditional elements, marital devotion, artistic faith, survivor's resilience, are real. The woke architecture surrounding them is also real.

Trope	Category	Location	Authenticity
Institutional Evil	WOKE	Throughout -- American capitalism systematically exploits and dehumanizes the immigrant artist	Natural
Anti-Western Revisionism	WOKE	Throughout -- the American Dream is systematically debunked as a trap for the vulnerable	Natural
The Bigoted Traditionalist	WOKE	Multiple scenes -- anti-Semitism encountered by László in American social settings	Natural
The Victimhood Meritocracy	WOKE	Throughout -- László's genius is recognized but his humanity is denied due to his immigrant/Jewish status	Natural
Institutional Evil (Patron)	WOKE	Late act -- Van Buren's assault on László frames capitalism as literal violation	Emphasized
The Redeemed Criminal (Systemic)	WOKE	László's heroin addiction contextualized as trauma response to institutional failure	Natural
Globalist Utopia	WOKE	The film's ending at an Israeli conference frames multicultural artistic achievement as ultimate victory	Natural
The Marginalized Savant	WOKE	László as immigrant genius whose talent is exploited rather than honored by American system	Natural
The Colonialist Villain	WOKE	Van Buren's ownership mentality toward László coded as colonial possession	Emphasized
Defense of the Innocent	TRAD	Throughout -- László protects and waits for his wife Erzsébet across years of separation	Natural
The Nuclear Family Under Siege	TRAD	Throughout -- László and Erzsébet's marriage survives separation, illness, and addiction	Organic
Faith in Adversity	TRAD	Erzsébet's Jewish faith and dignity are portrayed with consistent respect	Organic
Industry and Perseverance	TRAD	Throughout -- László's artistic dedication and persistence despite crushing obstacles	Organic
The Self-Sacrificing Hero	TRAD	László endures humiliation and exploitation to complete his life's work and protect his wife's memory	Natural
Restored Home	TRAD	Final act -- the completed building stands as László's monument and vindication	Natural