Key Points
- The Brutalist concludes with Erzsébet’s confrontation of Harrison, exposing the abuse László endured.
- László’s architectural work reflects his traumatic past, as revealed in Zsófia’s epilogue speech.
- Harrison’s unexplained disappearance leaves room for speculation, emphasizing unresolved power dynamics.
The Brutalist is a 3.5-hour epic exploring the interplay of trauma, artistry, and power through the life of László Tóth, a Jewish architect and Holocaust survivor. The film’s ending weaves a complex narrative with an ambiguous confrontation and an emotional epilogue, offering much to unpack. This detailed article breaks down the film’s climactic moments, key revelations, and lingering questions.
Erzsébet’s Shocking Accusation and Harrison’s Disappearance in The Brutalist

The film’s penultimate scene occurs during a dinner party at the mansion of industrialist Harrison Lee Van Buren. In a climactic moment, Erzsébet (Felicity Jones) interrupts the gathering to publicly accuse Harrison of raping her husband, László Tóth (Adrien Brody).
This revelation sheds light on the exploitation and abuse László endured at the hands of Harrison, who had been both a benefactor and an oppressor in his life. The accusation, though initially denied by Harrison, is shown to be true in earlier scenes. As the weight of Erzsébet’s words settles over the dinner guests, Harrison leaves the room in a state of visible discomfort. His departure is marked by ambiguity, leaving viewers uncertain of his ultimate fate.
The power dynamics between László and Harrison are at the core of this confrontation. Harrison’s son, Harry (Joe Alwyn), rushes to László’s concrete monument a structure dedicated to Harrison’s late mother—only to find that his father has vanished.
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Zsófia’s Speech: A Reflection on Trauma and Legacy

The film’s epilogue, subtitled “The First Architecture Biennale,” shifts the timeline to 1980. László, now elderly and with limited verbal abilities, is honored with a career retrospective in Venice. His niece Zsófia, played by Ariane Labed, delivers a poignant speech on his behalf, revealing new insights into László’s work and its connection to his traumatic past.
Zsófia’s speech reveals that László’s mysterious monument, central to the film’s narrative, is a replica of a structure that once imprisoned him in a German concentration camp. However, László altered the design by extending the ceilings, a symbolic gesture that speaks to his quest for spiritual reprieve and freedom.
“No matter what the others try and sell you, it is the destination, not the journey,” Zsófia concludes, encapsulating the film’s perspective on artistic creation as a transformative process.
While Zsófia’s remarks provide closure, they also invite interpretation. Her understanding of László’s work is deeply personal, but the director, Brady Corbet, emphasizes that art’s meaning is subjective.
“The thing about a piece of public art, and this goes for architecture and cinema alike, is that no one is necessarily right. No one is necessarily wrong,” Corbet explains.
This open-ended approach ensures that The Brutalist continues to provoke discussion long after the credits roll.
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László’s Architectural Vision

László’s architectural creations are deeply intertwined with his personal history. The structures he designs echo the physical and emotional constraints he endured during the Holocaust. By incorporating elements reminiscent of concentration camps into his work, László transforms symbols of oppression into expressions of resilience and remembrance.
Adrien Brody, who portrays László, highlights the significance of these designs: “Keeping the ceiling height was integral to the storytelling of what the symbolism of this building meant to him and to the spiritual aspect of looking, the soaring ceilings, looking for some kind of inspiration from above or reprieve from all of the rest.” The extended ceilings, in particular, signify László’s determination to rise above his suffering and create something enduring.
Harrison’s Role in László’s Journey

Harrison Lee Van Buren, played by Guy Pearce, is a complex antagonist whose relationship with László is marked by both patronage and exploitation. Harrison initially supports László’s career, commissioning his architectural projects and providing financial resources. However, this support comes at a steep cost, as Harrison seeks to dominate and control László both personally and professionally.
The dinner party confrontation exposes the darker aspects of Harrison’s character, including his abusive behavior. His disappearance following Erzsébet’s accusation leaves viewers with unresolved questions. Did Harrison flee out of guilt or face consequences for his actions? This ambiguity underscores the film’s exploration of accountability within unequal power dynamics.
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Director Brady Corbet’s Perspective

Brady Corbet, the film’s director and co-writer, emphasizes that The Brutalist is intended to provoke thought and invite multiple interpretations.
“At the end of the day, I believe that a work of art is the one safe space to be able to express and question and provoke curiosity and evoke various themes,” Corbet says.
He resists providing definitive answers, encouraging audiences to engage with the film’s themes and draw their own conclusions. Corbet also points to an earlier scene in the film, where László delivers a monologue about the cycle of trauma during a Christmas party.
“I think that all of the answers that people are looking for are in there,” he explains.
Source: Entertainment Weekly