I am no film expert or connoisseur, nor I am more knowledgeable than Brady Corbet on what makes a good film, but the second half of The Brutalist left me sorely disappointed and quite frankly confused.
While I understand sexual assault scenes in film can be used to portray power dynamics, the violation László Tóth endured seemed unnecessary to the plot itself, his exploitation was evident enough.
After this scene, I felt the film went into a convoluted state, gripping its claws into numerous social, political and interpersonal issues, those of which Corbet seemed to have a hard time juggling and tying together at the end.
