The Look of The Brutalist

The Brutalist is not just a film; it’s an experience played out in concrete and steel. It’s a decades-spanning epic that grapples with grand themes of legacy, identity, and the elusive nature of the American Dream. Brady Corbet’s ambitious third feature film is a work of striking visual power, an ode to the enduring allure of classical filmmaking techniques and the collaborative artistry of a dedicated team. This isn’t a film that whispers. It declares itself, demanding attention with its bold visual language and its unflinching exploration of human ambition and the scars of history.

This article delves into the creation of that visual language. We’ll go beyond the surface, exploring not just how they achieved the film’s distinctive look, but why they made the choices they did. From the groundbreaking decision to shoot on VistaVision — a format rarely used in contemporary cinema — to the meticulous design of the film’s central architectural marvel, the Institute, we’ll uncover the layers of meaning embedded within the film’s visual fabric.

(SPOILERS AHEAD!)

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The Brutalist tells the story of László Toth (Adrien Brody), a Hungarian-Jewish architect who survives the Holocaust and emigrates to America. He carries with him the physical and emotional scars of his past. A past that informs his unwavering dedication to his craft and his relentless pursuit of a singular, monumental vision. The film chronicles his struggles, his triumphs, and his complex relationship with a wealthy patron, Harrison Lee (Guy Pearce), as Toth strives to create a lasting architectural legacy. It’s a story about the creation of art, the clash of ideologies, and the enduring weight of history. It is also a story about America, and what the country represents.

But this isn’t just a story told with visuals. The Brutalist is a story shaped by them. The film’s use of VistaVision, its carefully considered color palette, its meticulous production design, and its bold framing choices all work in concert to create a cinematic experience that is both grand and intimate, both epic and deeply personal. We’ll explore how Lol Crawley, BSC’s cinematography captures the scale and texture of brutalist architecture, while also conveying the inner lives of the characters. Likewise, we’ll examine how Judy Becker’s production design creates a world that is both historically authentic and emotionally resonant. A world where buildings become characters and spaces speak volumes.

Prepare to enter the world of The Brutalist, a film that challenges us to consider the enduring power of architecture, the complexities of the American Dream, and the indelible mark of history on the human soul. This is a film that demands to be seen — and understood — on a grand scale.

This is The Look of The Brutalist.

CONTENTS: Tech Specs The World  Production Design Cinematography Costume Design

❑ THE BRUTALIST TECH SPECS ❒

• Runtime: 3h 34m (214 minutes)
• Color: 
  • Color 

• Aspect Ratio: 
  • 1.66: 1 

• Camera: 
  • Arri Alexa (one shot)
  • Arricam LT, Cooke S4 Lenses
  • Arricam ST, Cooke S4 Lenses
  • Arriflex 235, Cooke S4 Lenses
  • Arriflex 416, Zeiss Super Speed Lenses (some scenes)
  • Arriflex 435, Cooke S4 Lenses
  • Beaumont VistaVision Camera, Leica R Lenses
  • Digital Betacam (epilogue)

• Negative Format: 
  • 16 mm (Kodak Vision3 250D 7207, Vision3 500T 7219)
  • 35 mm (also horizontal, 3-perf, 2-perf, Kodak Vision3 250D 5207, Vision3 500T 5219)
  • ARRIRAW (one shot)
  • Video (epilogue)

• Cinematographic Process: 
  • Digital Betacam (source format, epilogue)
  • Digital Intermediate (master format)
  • Super 16 (source format, some scenes)
  • Super 35 (source format, some scenes)
  • Techniscope (source format, some scenes)
  • VistaVision (source format)

• Printed Film Format: 
  • 35 mm 
  • 70 mm 
  • D-Cinema 
  • DCP Digital Cinema Package

 

❑ THE WORLD OF THE BRUTALIST ❒

The Brutalist is not confined to a single time or place. The epic spans continents and decades, tracing the journey of László Toth, a Hungarian-Jewish architect who escapes the ashes of post-war Europe to pursue the American Dream. This transatlantic narrative, encompassing both the devastation of the Holocaust and the burgeoning optimism of mid-century America, presented a unique world-building challenge for the filmmakers. The film needed to evoke multiple distinct settings, each with its own historical and emotional weight, while maintaining a cohesive visual language. While much of the principal photography took place in Hungary, the film’s story traverses a far wider geographical and emotional landscape.

“Brutalism, as an architectural style, is often seen as cold and impersonal. But I think there’s a beauty in its honesty, in its refusal to hide behind ornamentation. That’s something I wanted to explore in the film.” —Brady Corbet

‘The Brutalist’ A24

FROM POST-WAR EUROPE TO THE PROMISE OF AMERICA

The film’s early scenes are crucial for establishing Toth’s backstory and motivations. These scenes depict the trauma of the Holocaust and the challenges of rebuilding a life in its aftermath. Ultimately, he is searching for a new beginning. 

The film then shifts to America, specifically evoking the atmosphere of Pittsburgh in the 1950s. This was a period of significant urban renewal and architectural innovation in America. It was a time of both optimism and underlying social tensions. Pittsburgh, with its industrial heritage and its own history of immigration, provides a fitting backdrop for Toth’s story. It’s a city built on steel and ambition, but also a city grappling with the complexities of progress and the displacement it can cause.

BRUTALISM: MORE THAN JUST CONCRETE

The film’s title, and its central architectural focus, is Brutalism. This architectural style, which emerged in the mid-20th century, is characterized by its use of raw concrete (béton brut in French, from which the term “brutalism” derives), its massive forms, and its emphasis on functionality. Brutalism was often associated with social housing projects, government buildings, and universities — structures intended to embody a sense of civic purpose and democratic ideals.

However, Brutalism has also been criticized for its perceived coldness, austerity, and even inhumanity. It’s a style that evokes strong reactions, and its use in the film is undoubtedly deliberate. For Toth, brutalist architecture may represent a rejection of the ornate, decorative styles of the past. A desire to create something new and enduring. Something that speaks to the raw realities of the human condition. It’s a style that reflects both his personal trauma and his unwavering belief in the power of architecture to shape society. 

❑ PRODUCTION DESIGN ❒

Judy Becker’s production design for The Brutalist is not merely about creating aesthetically pleasing sets. It’s about building a world that embodies the film’s complex themes, reflects the protagonist’s turbulent inner life, and serves as a tangible manifestation of his artistic vision. Her work on the film is a masterpiece in using architecture and design to tell a story, creating spaces that are both historically resonant and deeply symbolic. This goes beyond simply finding locations. It’s about constructing meaning through the built environment.

MORE THAN DECORATION: PRODUCTION DESIGN AS CHARACTER DEVELOPMENT

From the outset, Becker understood that The Brutalist demanded a production design approach that went beyond surface decoration. The architecture, particularly the central structure of the Institute, needed to function as a character in its own right, reflecting the complexities and contradictions of László Toth, the Hungarian-Jewish architect at the heart of the film. This required a deep dive into the history of brutalist architecture, the cultural context of post-war America, and the psychological impact of trauma and displacement.

THE INSTITUTE: A MONUMENT TO TRAUMA AND TRANSCENDENCE

The Institute, Toth’s magnum opus, is the film’s most significant design challenge and its most powerful visual statement. Becker’s description of it as a “factory-slash-crematorium disguised as a church” is deliberately provocative, revealing the layers of meaning embedded within its design. 

“[The Institute is a] factory-slash-crematorium disguised as a church.” —Judy Becker

This is not a building that offers easy comfort or simple beauty. It’s a structure that confronts the viewer, forcing them to grapple with the darkness of the past and the ambiguities of the present.

Next, let’s examine the several key influences of the Institute’s design.

BRUTALIST ARCHITECTURE 

The film’s title, of course, points to the dominant architectural style. Brutalism, with its emphasis on raw concrete, massive forms, and functional design. However, Becker’s Institute is not a generic brutalist structure. It pushes the style to its extremes, creating a building that is both imposing and unsettling. 

CONCENTRATION CAMP ARCHITECTURE 

Becker’s reference to concentration camps is crucial. The Institute’s starkness, its lack of ornamentation, and its imposing scale evoke the architecture of these sites of unimaginable horror. The disguised smokestacks, functioning as church towers, are a particularly chilling detail, adding a layer of dark irony and subversive commentary. 

This connection to the Holocaust is not gratuitous. It’s directly linked to Toth’s personal history and his struggle to reconcile his past with his present. 

MARCEL BREUER 

Becker cites a specific real-world example as inspiration. A synagogue in her hometown designed by Marcel Breuer, a prominent modernist architect. This temple features a hidden Star of David shape, only visible from above. 

This concept of hidden meaning, of a building that reveals its true nature only from a particular perspective, resonates with the Institute’s design. It suggests that Toth’s architecture contains layers of symbolism and personal significance that are not immediately apparent. 

The Institute, therefore, is not just a building. It’s a physical manifestation of Toth’s trauma, his ambition, his artistic vision, and his complex relationship with his adopted country. It’s a monument to both memory and the desire to transcend the past.

BEYOND THE INSTITUTE: CREATING A COHESIVE WORLD

While the Institute is the film’s centerpiece, Becker’s work extends to every aspect of the film’s world. Thus, it creates a cohesive and believable environment that spans decades and continents.

EARLY DESIGNS 

The film depicts Toth’s earlier work, including furniture designs and a library. These designs, while still rooted in a modernist aesthetic, are less overtly brutalist than the Institute. These reflect Toth’s evolving style and his initial attempts to find his place within the American architectural landscape.

THE CONSTRUCTION SITE

The evolving construction site of the Institute is a significant setting in the film. Becker’s team meticulously recreated the look and feel of a mid-century construction site, using period-appropriate materials, tools, and techniques. This attention to detail adds to the film’s authenticity and provides a dynamic backdrop for the unfolding drama. This also helped show the passage of time, along with the scale.

HUNGARY AS AMERICA: THE ART OF TRANSFORMATION

The decision to film primarily in Hungary presented a significant challenge. How to convincingly recreate American settings, particularly those of 1950s Pittsburgh, on a different continent. This required a close collaboration between Becker’s production design team and Lol Crawley, BSC’s cinematography team.

Becker’s team focused on sourcing period-appropriate props, furniture, and vehicles, transforming Hungarian locations into believable American homes, offices, and streetscapes. The opening interrogation room, a completely fabricated set, exemplifies the level of detail and control achieved by the production design team.

The choice of locations was also crucial. Hungary, with its own rich architectural history and its mix of urban and rural landscapes, offered a surprising degree of versatility. However, careful framing, strategic set dressing, and the skillful use of lighting were essential to conceal any telltale signs of the European setting.

Judy Becker’s work on The Brutalist is a powerful example of how production design can elevate a film from a simple narrative to a rich, multi-layered work of art. Her meticulous research, her attention to detail, and her deep understanding of the film’s themes and characters have resulted in a world that is both visually stunning and emotionally resonant. 

The buildings, the sets, the props — they are not just background elements. They are active participants in the story, shaping our understanding of the characters and their world. This is production design at its finest. A craft that transforms the mundane into the meaningful, the ordinary into the extraordinary.

❑ THE BRUTALIST CINEMATOGRAPHY ❒

Lol Crawley, BSC, is a cinematographer known for his bold visual choices and his ability to create atmosphere and emotion through light, composition, and camera movement. His work on The Brutalist is no exception. He crafts a visual language that is both grand and intimate, echoing the film’s thematic concerns of ambition, legacy, and the human cost of progress.

VISTAVISION: A DELIBERATE CHOICE, NOT A GIMMICK

The decision to shoot The Brutalist on VistaVision, a large-format film system rarely used in contemporary cinema, was not a stylistic flourish, but a fundamental choice driven by the specific needs of the story. Crawley emphasizes that the decision was “motivated by this desire to shoot on a larger film format” and that it “earned its place” rather than being an “affectation or anything like that, or a gimmick.”

According to Crawley, the rationale behind choosing VistaVision was twofold…

HISTORICAL CONTEXT

 Brady Corbet wanted to evoke the cinematic language of the 1950s, the era in which a significant portion of the film is set. VistaVision, popularized by directors like Alfred Hitchcock in films such as Vertigo and North by Northwest, provided a direct link to that cinematic heritage. It wasn’t simply about nostalgia. It was about tapping into a visual vocabulary associated with a specific time and place. 

ARCHITECTURAL REPRESENTATION

The wider field of view offered by VistaVision was crucial for capturing the scale and grandeur of brutalist architecture without introducing the distortion that can occur with wider-angle lenses on smaller formats. 

“[We wanted to] celebrate the space.” —Lol Crawley, BSC

As Crawley explains, the larger negative area allows for a “wider field of view” without needing “a wider angle lens to achieve that.” This results in a “truer” representation of the buildings, with “lines [that] are less distorted.” This was particularly important for showcasing the clean lines and geometric forms that characterize brutalist structures. 

LENSES: SHAPING PERSPECTIVE WITH LEICA R AND COOKE S4

Crawley’s lens choices for The Brutalist were specific and carefully considered, utilizing two distinct sets of prime lenses to complement the different film formats employed and shape the film’s visual narrative. This wasn’t about finding one “do-it-all” lens, but about selecting optics with specific characteristics for particular effects.

LEICA R LENSES (PAIRED WITH VISTAVISION)

For the sequences captured on the unique Beaumont VistaVision camera, Crawley employed Leica R lenses. Originally designed for Leica’s 35mm still photography cameras, these vintage full-frame lenses possess the necessary image circle to cover the large, horizontal VistaVision negative. Leica R glass is renowned for its distinct character. They have pleasing bokeh, beautiful flares (when pushed), excellent center sharpness, and a slightly warmer, less clinical feel than many modern cinema lenses.

Using these vintage optics on the VistaVision format contributed significantly to the film’s period aesthetic. They added a subtle layer of nostalgia and optical character that complements the historical setting and the grandeur of the large format.

COOKE S4/I LENSES 

For the portions of the film shot on standard 35mm, Crawley utilized the industry-standard Cooke S4/i prime lenses. These modern cinema lenses are famous for delivering the classic “Cooke Look” – a unique combination of sharpness and smoothness. They possess a flattering rendering of skin tones, beautiful bokeh, and a gentle focus fall-off.

Plus, they provide a reliable, high-quality, and distinctly cinematic image often favored for narrative filmmaking. Using the Cooke S4s for the standard 35mm sequences provides a consistent, high-quality look.

Dual Lens Sets: Crafting Visual Texture

The deliberate choice to use two different sets of lenses, paired with distinct film formats (VistaVision and standard 35mm/Super 35mm), allowed Crawley and director Brady Corbet to create varied visual textures within the film.

The Leica R lenses on VistaVision provided a grander, perhaps slightly more romantic or vintage feel for certain sequences. Whereas, the Cooke S4/i lenses on standard 35mm offered a reliable, classically cinematic look for others. This approach adds another layer to the film’s sophisticated visual language.

Regardless of the specific lens set, the choice of focal length remained crucial for shaping perspective and emotion:

• Wider Lenses: Employed to capture the imposing scale of the brutalist architecture and vast landscapes. Potentially creating feelings of isolation or emphasizing the environment’s impact on the characters.
• Normal Lenses: Utilized to provide a more naturalistic perspective. Grounding scenes of dialogue and interaction in a relatable visual field.
• Longer Lenses: Used to compress perspective, isolate characters, intensify close-ups. This draws the audience into specific emotional moments, highlighting nuances in performance.

By carefully selecting both the lens type (Leica R vs. Cooke S4) and the focal length for each shot and sequence, Lol Crawley masterfully shaped the audience’s perception, enhancing the emotional resonance and thematic depth of The Brutalist.

CAMERA MOVEMENT: A DANCE BETWEEN FORMALISM AND FREEDOM

Crawley describes the camera movement in The Brutalist as a balance between “formalism” and “intimacy.” This duality reflects the film’s thematic concerns, contrasting the rigid, controlled world of architecture and ambition with the messy, unpredictable reality of human relationships.

FORMALISM

In scenes featuring Harrison Lee, the wealthy patron, the camera often remains static or moves with a controlled, deliberate precision. This reflects the power dynamics at play and the formality of their interactions. Tripod shots, smooth dolly moves, and carefully composed frames would be characteristic of this approach.

INTIMACY

In contrast, scenes involving more personal moments, or moments of emotional turmoil, often employ a handheld camera. This creates a sense of immediacy and vulnerability, drawing the audience closer to the characters’ experiences. 

Crawley mentions a particularly striking example. A scene where the Steadicam operator, Attila Pfeffer, transitions from a smooth Steadicam shot to a handheld mode within the same take. This daring technical feat reflects the film’s willingness to break with convention in order to serve the emotional needs of the story.

This deliberate shifting between camera styles is not arbitrary. It’s a carefully orchestrated visual strategy that adds depth and complexity to the film’s narrative.

LIGHTING: SCULPTING WITH SHADOWS AND NUANCE

Crawley’s approach to lighting in The Brutalist is characterized by a strong emphasis on naturalism and a willingness to embrace shadows. 

He describes his process as “lighting it to replicate what the best version of how we found it.” 

Meaning that he draws inspiration from the existing light in a location and then subtly augments it to create consistency and control.

Lol Crawley on set | Photo courtesy of International Film Festival Rotterdam

This doesn’t mean that the film is devoid of stylized lighting. In the furniture showroom scene, for example, Crawley uses Venetian blinds to create a “noir-ish quality.” They cast dramatic shadows and shape the light to enhance the mood. This demonstrates his ability to blend naturalistic and stylized approaches, creating a lighting design that is both believable and emotionally expressive. He also worked with Judy Becker on a fabricated light for the Library, something that is seen in other films.

PRACTICAL LIGHTING

Crawley frequently uses practical lights — lights that are visible within the scene, such as lamps, windows, or overhead fixtures — as a key source of illumination. This adds to the film’s realism and creates a sense of depth and texture.

NATURAL LIGHT

Whenever possible, Crawley utilizes natural light, shaping and modifying it with reflectors, diffusers, and flags to achieve the desired effect. This creates a soft, believable light that feels organic to the environment.

SHADOWS

Shadows are not avoided; they are embraced as a crucial element of the visual composition. Crawley creates depth with shadows to sculpt the actors’ faces and to add a sense of mystery or drama.

A CINEMATOGRAPHIC VISION REALIZED 

The choice of VistaVision gives the film its own visual identity. Lol Crawley’s cinematography on The Brutalist is a vital component of the film’s success. His technical skill, his artistic sensibility, and his deep understanding of the story have resulted in a visual language that is both striking and emotionally resonant. From the grand sweep of the VistaVision format to the intimate details of the lighting and camera movement, every choice is deliberate, serving the narrative and enhancing the audience’s experience. This is cinematography that goes beyond mere visual spectacle; it’s cinematography that tells a story.

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❑ COSTUME DESIGN ❒

While architecture forms the imposing backbone of The Brutalist, costume designer Kate Forbes masterfully uses clothing to flesh out the characters, chart their emotional journeys, and subtly reinforce the film’s themes. Her work on the film is not simply about dressing actors; it’s about crafting a visual language that speaks to the passage of time, the weight of personal history, and the complexities of the American Dream. Forbes, with three decades of experience, brings a nuanced understanding of period detail and a punk-rock spirit of resourcefulness to this challenging project.

AUTHENTICITY ON A BUDGET: SOURCING AND CREATING THE WARDROBE

The Brutalist spans several decades, from 1947 to 1960, demanding a wardrobe that accurately reflects the evolving fashions of the era. However, as Forbes reveals, the film operated on a “limited budget,” necessitating a creative and resourceful approach to sourcing costumes. This wasn’t about commissioning lavish, custom-made pieces for every scene. It was about meticulously curating a wardrobe that felt authentic and lived-in, while still serving the narrative needs of the film.

“The script itself drew me in 100%. I thought it was an amazing script, and I’ve always loved ‘The Fountainhead,’ the Ayn Rand book, and there seemed to be echoes of that in ‘The Brutalist.’” —Kate Forbes

Forbes and her team embarked on a transatlantic treasure hunt, collaborating with “seven costume houses in the end in the U.K. and [the rest of] Europe.” This involved scouring vintage stores, costume rental houses, and private collections for original pieces from the 1940s, 50s, and 60s. This approach not only ensured authenticity but also added a layer of texture and history to the costumes, imbuing them with a sense of lived experience.

The sheer scale of the wardrobe was daunting. Forbes estimates that over 750 to 1,000 costumes were used for the extras alone, highlighting the meticulous attention to detail required to create a believable period world. This wasn’t just about dressing the leads. It was about populating entire scenes with characters who felt authentically rooted in their time and place.

CHARACTER THROUGH COSTUME: DEFINING PERSONALITIES AND RELATIONSHIPS

Beyond reflecting historical accuracy, the costumes would play a crucial role in defining the characters and their relationships.

LÁSZLÓ TOTH (ADRIEN BRODY)

Forbes emphasizes Toth’s “defiant independence,” a quality that sets him apart from the “sea of suits” represented by Harrison Lee and the American establishment. This suggests that Toth’s clothing, even as he achieves success, might retain a certain individuality, a subtle rejection of conformity. 

In a pivotal scene where Toth reunites with his wife, Erzsébet (Felicity Jones), Forbes made a conscious choice to dress him in a grey sports jacket and pale blue shirt, signifying “a moment of hope and serenity.” This departure from his usual attire underscores the emotional significance of the reunion.

HARRISON LEE (GUY PEARCE)

Lee’s costumes, as a wealthy patron, were impeccably tailored and expensive, conveying his status and power. This creates a visual contrast with Toth’s more individualistic style. The choice of his ties was a selection between sapphire and deep red.

ZSÓPHIA (RAFFEY CASSIDY)

Her introductory outfit is one that helps to display the tense situation she is in during her interrogation scene.

BEYOND THE SURFACE: SYMBOLISM AND SUBTEXT

Forbes’s approach to costume design goes beyond mere period accuracy. She uses clothing to convey subtle nuances of character, emotion, and theme. The choice of a grey sports jacket and pale blue shirt for Toth in the reunion scene is a prime example of this. It’s not just a random outfit. Rather, it’s a deliberate choice that signifies a shift in his emotional state.

Similarly, Forbes mentions the “Lee Harrison ties,” carefully selected in shades of “sapphire and deep red.” These seemingly minor details contribute to the overall visual language of the film, hinting at the underlying power dynamics and the contrasting personalities of the characters.

UNPLANNED MAGIC: EMBRACING THE UNEXPECTED

Forbes also highlights the importance of being open to unexpected moments of serendipity. She describes a scene featuring Emma Laird in a red dress, set against red curtains. 

This striking visual juxtaposition wasn’t meticulously planned; it was a happy accident, a moment of “unplanned magic” that arose from the confluence of costume and set design. Forbes’s willingness to embrace these unplanned moments, to recognize their beauty and incorporate them into the film’s visual tapestry, speaks to her experience and her intuitive understanding of using costumes to shape a story. She also explains how this helps capture “how life goes.”

Forbes describes herself as having a “punk spirit,” an attitude that informs her approach to filmmaking. This doesn’t mean she’s creating punk-inspired costumes for a period piece. Instead, it speaks to her resourceful, independent, and anti-establishment approach. She values individuality and authenticity, and she’s not afraid to break the rules or challenge conventions to achieve her vision. This punk spirit is evident in her willingness to source original vintage pieces, to collaborate closely with actors, and to embrace the unexpected moments that can elevate a film’s visual language.

❑ WATCH THE BRUTALIST ❒

The Brutalist stands as a filmic monument to the power of collaborative filmmaking, a symphony of vision orchestrated by director Brady Corbet and brought to life by the artistry of Lol Crawley, BSC, Judy Becker, Kate Forbe, and the entire creative team. It’s a film that demonstrates how every visual element — from the grand sweep of VistaVision cinematography to the subtle details of costume and production design — can contribute to a powerful and unforgettable cinematic experience. 

This isn’t just a film about architecture. This is a film that uses architecture, light, and design to explore the complexities of human ambition, the weight of history, and the enduring search for meaning. Thus, proving that independent films can be just as beautiful as blockbusters.

“The film is, in many ways, a meditation on the American Dream, its promises and its pitfalls. It’s about what it means to strive for greatness, and what we lose in the process.” —Brady Corbet

The Brutalist is available on your friendly neighborhood streaming service. 

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WORK CITED:

• Haigh, Chris (Host). “Finding the Frame Podcast: Featuring Lol Crawley, BSC and Judy Becker.” Filmmakers Academy Podcast, Season 2, Episode 5, February 25, 2025. https://www.filmmakersacademy.com/blog-deconstructing-the-brutalist/.  
• Jules, Jadah. “Q&A: Kate Forbes on the clothes behind ‘The Brutalist’.” Washington Square News, 4 Mar. 2025, https://nyunews.com/arts/2024/03/04/kate-forbes-the-brutalist/.
• “The Brutalist: the art of costume in a period production.” Peris Costumes, 6 Feb. 2025, https://www.periscostumes.com/the-brutalist-the-art-of-costume-in-a-period-production/.