The streaming date is set. Adrien Brody’s haunting performance in The Brutalist—the film that won him his second Best Actor Oscar—is finally coming to Max.
A Role That Shook the Academy
Brody knows how to stop a room. He did it once in The Pianist, and more than two decades later, he’s done it again.
In The Brutalist, he plays László Tóth—a Hungarian architect and Holocaust survivor whose quiet resilience anchors one of the most emotionally devastating films of the year.
At the March Oscars, Brody didn’t just win—he made a statement. Refusing to be played off by music, he finished his acceptance speech with steely defiance and deep gratitude. It was one of those moments that doesn’t just earn applause. It earns respect.
The film that got him there is now ready for a much wider audience.
Streaming Starts May 16, HBO Follows May 17
Mark your calendars. Friday, May 16, is when The Brutalist officially begins streaming on Max.
If you prefer the cable route, HBO is airing the film the next day, Saturday, May 17, at 8:00 p.m. ET.
It’s rare that an Oscar-winning performance arrives so quickly after the ceremony, but Max clearly sees the cultural weight this film carries—and the public’s hunger to see it.
A Story That Echoes Across Generations
The film is more than a character study. It’s a slow-burning, historical drama with architectural precision—every frame deliberate, every moment earned.
After surviving the horrors of World War II, László Tóth immigrates to America. He has no money, no connections, just talent—and pain that follows him like a shadow.
He settles in Pennsylvania. There, his raw gift for design catches the attention of a wealthy, enigmatic industrialist: Harrison Lee Van Buren, played with chilling depth by Guy Pearce.
But the American dream isn’t free. Legacy comes at a price. Power asks for something back.
Critics, Fans, and Awards Season Buzz
The response has been overwhelming.
Brody’s performance is already being dissected in acting classes and film Twitter threads. Critics called it “career-defining” and “a masterclass in stillness and sorrow.”
Here’s a breakdown of how it’s been received:
| Source | Rating / Commentary |
|---|---|
| The New York Times | “Brody reaches a level of gravitas we’ve not seen since 2002.” |
| IndieWire | “An uncompromising portrayal of post-war identity.” |
| Rotten Tomatoes | 92% Certified Fresh |
| Audience Score | 88% approval |
| Oscar Voters | Best Actor Winner, Best Cinematography Nominee |
If you’re wondering whether it’s just Oscar bait—don’t. This is slow cinema, but it hits like a freight train.
Behind the Lens: Brady Corbet’s Stark Vision
Brady Corbet, the co-writer and director, has built a reputation for stylized, emotionally heavy storytelling. With The Brutalist, he doesn’t just tell a story—he builds it, brick by brick.
Corbet’s camera lingers. Silence stretches. Moments feel real, uncomfortable, honest.
He doesn’t rush. He trusts the viewer to stay with him. And that’s a rare kind of trust in modern cinema.
Brody and Corbet are, frankly, a match made in cinema heaven.
Not Just Brody—The Whole Cast Delivers
Yes, Brody is the headline. But this isn’t a one-man show.
Guy Pearce’s portrayal of Van Buren is both magnetic and menacing. He doesn’t play a villain. He plays a man who believes in his own righteousness, which might be worse.
And then there’s Vicky Krieps, playing Erzsébet, László’s estranged wife. Her performance doesn’t scream—it simmers. She brings tenderness, conflict, and strength to every scene she’s in.
These three together? It’s like watching fire, ice, and smoke dance on screen.
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Adrien Brody – László Tóth, haunted architect
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Guy Pearce – Harrison Lee Van Buren, power broker with a God complex
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Vicky Krieps – Erzsébet Tóth, resilient but weary wife
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Isaach De Bankolé and Stacy Martin round out a supporting cast that’s subtle and sharp.
A Second Oscar That Feels Like a First
There’s something poetic about Brody winning his second Oscar in a role so spiritually adjacent to the first.
Both men—Szpilman in The Pianist and Tóth in The Brutalist—survive atrocities and then try to live again.
But this time, Brody isn’t playing youth. He’s playing what comes after. The silence, the disillusionment, the weight of memory.
This isn’t a comeback. It’s a return to form with more weight, more texture, more years lived.
