JAMES WALSH is moved by an exhibition of graphic art that relates horrors that would be much less immediate in other media
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Brute power
The Star's critic MARIA DUARTE recommends an epic exploration of the post war immigrant experience in the US
CONCRETE POETRY: Adrien Brody as Laszlo Toth in The Brutalist
RON JACOBS welcomes the translation into English of an angry cry from the place they call the periphery
GUILLERMO THOMAS recommends a useful book aimed at informing activists with local examples of solidarity in action around the world
HENRY BELL is provoked by a book that looks toward, but does not fully explore the question of who gets to imagine the shapes of cities to come
MATTHEW HAWKINS surveys the upcoming programme of contemporary dance in Glasgow, and picks some highlights
‘Chance encounters are what keep us going,’ says novelist Haruki Murakami. In Amy, a chance encounter gives fresh perspective to memories of angst, hedonism and a charismatic teenage rebel.
The Brutalist (18)
Directed by Brady Corbet
ALTHOUGH it isn’t made clear, the film’s title refers to the architectural style of the brutalist movement which emerged in the 1950s but can equally allude to the post-war immigrant experience in the US as they pursued the American Dream.
You may think it aptly describes the film’s brutal length at just over three-and-a half-hours with a 15-minute intermission built in. Surprisingly it does not feel as long as it is.
Directed by Brady Corbet who co-wrote it with Mona Fastvold, the drama follows fictitious Hungarian Jewish architect Laszlo Toth (Adrien Brody), a Holocaust survivor who escapes Europe in 1947 and emigrates to the US to start a new life. He is waiting to be joined by his wife Erzsebet (Felicity Jones) who is trapped in eastern Europe with his niece Zsofia (Raffey Cassidy).
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