Brady Corbet’s The Brutalist, a much-hyped film that has been praised for its direction and performances, is struggling financially despite its success. The director, who has a unique vision in films like The Childhood of a Leader and Vox Lux, has spoken about the struggles of the production of the film, and how despite the acclaim it has received, the film has earned little to no money.
The Brutalist, which earned critical praise during its festival releases, charts a convoluted story against the background of post-war America, addressing themes of alienation, social conformity, and individual identity. As much as numerous people have praised the film for its visually striking presentation and profound emotional impact, Corbet concedes that the box office performance of the movie has been discouraging, clouding what was set to be a victory moment of his career.
In a recent interview, Corbet voiced his exasperation with the economics of filmmaking, commenting that, although the film has found artistic success, it will not be able to pay back its production costs. The director made public the fact that the film was shot on an independent premise using smaller budgets and creative financing. Yet the commercial disadvantage of independent cinema, especially for a film with such specialized themes, has been an unfathomable barrier.
Corbet’s candor about the money questions over The Brutalist reinforces a developing anxiety in the film world regarding the sustainability of independent film production in the age of big studios and streaming monopolies. The director noted that, despite his own films’ critical acclaim, the economic rewards are not always forthcoming, which can be demoralizing to artists outside the big studio system.
In spite of the economic difficulties, Corbet is still fond of the efforts that went into The Brutalist, stressing that the artistic vision of the film was never sacrificed. The movie’s forays into the tricky emotional landscape, especially as they relate to the psychological breakdown of the protagonist, remain compelling for viewers who relish its risky, provocative story. The distribution and audience dynamics in a busy market, though, have been challenging to achieve for the filmmaker.
As the film world moves forward, Corbet’s experience underscores the vulnerability of independent filmmaking and the economic constraints placed on directors who seek to keep their creative vision intact. Though The Brutalist did not profit, it is a demonstration of Corbet’s singular vision for cinema, and its aesthetic success could well be its biggest victory. For the moment, the director is committed to making more challenging, uncompromising work, come what may in terms of cost.
