Understanding the Length of the Brutalist Film Runtime and Its Intermission

The following article contains spoilers for The Brutalist. The Brutalist is a deeply impactful film that scrutinizes the harsh realities of the American Dream, making it one of the most anticipated cinematic experiences of 2024. The narrative centers around László Tóth, portrayed by Adrien Brody, a Jewish-Hungarian architect who escapes the horrors of a concentration camp and relocates to the United States. Settling in Philadelphia, he encounters the affluent Harrison Van Buren (Guy Pearce) and his son, Harris, leading to the undertaking of a pivotal architectural project that will define his career. Under the direction of Brady Corbet, the film has garnered an astonishing ten Academy Award nominations, including Best Picture and Best Actor nod for Brody.

Despite its accolades, the film has faced some backlash. Critics have expressed concerns regarding its integration of AI for portions of the Hungarian dialogue delivered by Brody. Furthermore, audiences have questioned the film’s substantial runtime, which exceeds three hours, making it one of the longest theatrical releases in recent years. This extended duration evokes comparisons to Martin Scorsese’s acclaimed works, such as Killers of the Flower Moon and The Irishman, though The Brutalist uniquely features an officially sanctioned intermission, a rarity among contemporary films.

Analyzing the Runtime and Structure of The Brutalist

A Distinct Structure: Two Acts and an Epilogue

The Brutalist unfolds over four segments: two acts, an intermission, and an epilogue. The first act, titled “Part I: The Enigma of Arrival, ”spans approximately an hour and 40 minutes, immersing viewers in László’s grim journey in the U. S.during 1947. This act details his struggles and the pivotal moment when the Van Buren family commissions him to design a community center.

Following this act, the film features an intermission before transitioning into “Part II: The Hard Core of Beauty, ”which advances the narrative to 1953. In this second act, László grapples with his architectural duties, substance issues, and the complex dynamics with the Van Buren family. Here, we are introduced to László’s wife, Erzsébet, played by Felicity Jones, who emerges as a standout character. As the plot thickens, the Van Buren family decides to halt the community center project, prompting László and his family to relocate to New York City, setting the stage for a dark exploration of ambition and despair.

Concluding the film is a brief epilogue titled “The First Architecture Biennale.”This closing segment shifts the focus from László to his niece, Zsófia (Ariane Labed), who reflects on her uncle’s work. She explains how the Van Buren Community Center’s design echoes the architecture of concentration camps, symbolizing László’s attempts to navigate his trauma. Zsófia echoes a poignant lesson her uncle imparted: “No matter what the others try and sell you, it is the destination, not the journey.”

The Significance of The Brutalist‘s Length

Symbolism Behind the Intermission

Adrien Brody and Guy Pearce hugging in The Brutalist

Midway through the first act of The Brutalist, László embarks on an ambitious endeavor to construct a comprehensive community center for the wealthy Van Buren family. His obsession with the project significantly impacts his daily life, eclipsing other aspects. The intermission serves as a symbolic representation of the significant passage of time and the arduous nature of László’s undertakings, indicated by the six-year leap when Part Two resumes.

Through a beautiful montage, the film illustrates the gradual assembly of the Van Buren center, showcasing not just László’s fictional contributions, but also Corbet’s impressive directorial vision. The 15-minute interlude acts as a critical pause, allowing audiences to absorb both the length of the construction process and the emotional gravity of László’s journey.

Director Brady Corbet’s Rationale for Including an Intermission

A Necessary Respite for Viewers

László showing blueprints in The Brutalist

The intermission in The Brutalist occurs at the conclusion of “Part I: The Enigma of Arrival, ”precisely at the one hour and 40 minute mark in this extended 3-hour-and-35-minute film. During this 15-minute break, the screen displays a family photo and a countdown timer before the movie resumes amidst the sounds of piano music composed by John Tilbury, tailored to Daniel Blumberg’s score.

Brady Corbet designed the intermission with the audience in mind, recognizing their need for a moment to reflect and rejuvenate during such an extensive viewing experience. He shared in an interview with IndieWire that he prefers a pause during lengthy films, noting, “I have a hard time sitting still for three-and-a-half hours.”

Corbet further elucidated his reasoning behind the precise 15-minute length of the intermission in an interview with The Times:

“It’s 15 minutes because that’s generally how long it takes for people to exit, use a restroom, smoke and return in time for part two. Hopefully, audiences will enjoy the communal experience.”

The director’s partner, Mona Fastvold, contributed her perspective on this intermission. She likened the viewing experience of The Brutalist to binge-watching a television series, suggesting that:

“You know, people sit at home and they watch eight to 16 hours of a limited series with little breaks in between, so if you apply that idea to this film, you’re just binging this movie with a little break in the middle. So, don’t be scared of the intermission.”

In certain theater screenings, audiences discovered that the intermission followed minutes of a blank screen. This phenomenon occurred in locations where the film was presented on either 35-millimeter or 70-millimeter reels, necessitating physical reel changes due to the film being shot in VistaVision format, further elongating the viewing experience of The Brutalist.

Sources: IndieWire, The Times

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