Why Hollywood obsessed with architects? “Wahshi” gives us a hint.

In a world where the building seems difficult at best and repressive in the worst case, what is the goal of being an architect at all? This question unifies two newly recent films last year: “The Brutalist” from Brady Corbet and Francis Ford Coppola “Megalopolis”. Both films are definitely wandering in the cup of the besieged author. In the movie “Megalopolis”, the Palestinian Caesilina (Adam driver) is fighting in his endeavor to renew the new Rome, Manhattan Al -Mahjoub. (Even there is a skyscraper to match VIDOR.) The tormented architect in Corbet László Tóth (Adrien Brody), one of the Jewish Holocaust survivors who depends on Breuer, which is almost accumulated on Ran. Fountainhead “(The book, but not the movie) builds the secular temple of the human spirit of a rich man. When you find the wife of Tóth, Erzsébet (Velicity Jones) his plans and tell him,” I just look at you “, and they express the old belief: buildings are extensions for their authors.

But these films turn this formula, as if explaining how we changed we saw it – one is dark, and the other is emotionally.

The films remind us that the building is intended for the people and the surrounding places as much as its maker or agent.

Despite her sweeping shots of the great early Manhattan towers, the “The Brutalist” takes a dim look at ambition. Like Vidor, Corbet directs a sexual assault on the outskirts of the quarry, also – with the exception of this terrible scene, the architect is a victim, and the rape is the rich industrial Harrison van van Burin (Jay Peres), who commissioned the chapel and raised with Tut to Karrara to choose a group of chores. By unlike the “Fountainhead” attack, Corbet depicts an existential trap that is often ignored in common accounts of the author’s building: If you depend on customers to achieve artwork, this is not completely for you.

Through the conclusion of the film, which was appointed during the first appearance of architecture in Venice in 1980, Tóth was associated with moving chairs and mute, exhausted. The late conspiracy revelation indicates that the church, in its design, as well as its marble essence, stands as a reminder of the worship of Tóths as the principles of design lászló. Biennial is a right environment, because there was, in real life, that a disturbed generation of postmodernism gathered to continue to retract the aspirations of their sober. Robert Ventury, an American who loved Las Vegas, raised “ugly and normal”. Luxembourgish Lyon Cryer was still – a radical decline, and he argued that the buildings should imitate the past. This was every piece with environmental and feminist criticism in the 1960s and 1970s that called for austerity in modern Utopia.