This article reveals significant plot points from the conclusion of “The Brutalist” (now showing in theaters across the country).Proceed with caution if you haven’t watched it yet.

It’s about the end goal, not the process.

This poignant line concludes “The Brutalist,” a film that recently garnered an impressive 10 Oscar nominations, including best picture and best actor for Adrien Brody. This theme resonates particularly with Brody, 51, who portrays László Tóth, a fictional Hungarian-Jewish architect in the aftermath of World War II.

“It’s an intriguing and beautiful insight,” Brody comments. “Throughout one’s journey, an artist must make significant sacrifices for their creations, which validates the significance of the end goal.”

In the expansive narrative, László relocates to America post-Holocaust and is tasked with designing a grand community center for the charming yet prejudiced benefactor, Harrison Lee Van Buren (Guy Pearce). The film culminates in 1980 Venice, where a frail László is honored with a retrospective of his artistic accomplishments. It’s during this event that we learn he ingeniously incorporated a tribute to his family in his architectural design, which subtly mirrors the concentration camps where they suffered.

Directors Brady Corbet and Mona Fastvold share their insights on the film’s conclusion and the catchy song that plays during the credits:

What does the ending of ‘The Brutalist’ signify?

The film starts and concludes with Zsófia (Raffey Cassidy), László’s orphaned niece, who appears as an adult in the last scene portrayed by Ariane Labed. At the exhibition in Italy, she gives a speech to honor her uncle’s uniquely personal architecture.

“When you think about legacy, it’s not solely about the remarkable creations,” Fastvold explains. “It’s about the love you impart and the paths you clear for others, exemplified by László’s niece. At the height of his career, he faces illness, loses his wife, and is ultimately represented by his niece among all his work.”

“The twist reveals that the film is fundamentally a love story,” adds Fastvold. “This fixation on his architecture is ultimately a way of expressing love and grappling with his trauma. We recognized this theme fairly early on during the writing process as we became deeply connected to the characters.”

The film also serves as a tribute to the filmmakers’ young daughter, Ada, who was with them at the recent Golden Globes.

“Producing a project requires immense effort; you sometimes lose track of what originally motivated you,” Corbet remarks. “In reflecting on my life, I doubt I’ll treasure my body of work the most. It will be our daughter.”

What is the closing song featured in ‘The Brutalist’?

“The Brutalist” is a notably serious film enriched with a lush score by Daniel Blumberg, which conveys both grandeur and a sense of foreboding. Therefore, it’s unexpected to conclude the film with the lively “One for You, One for Me,” a 1978 disco hit by La Bionda. This energetic love song also reflects the compromises artists often make: László fulfilled Harrison’s request for the community center while finding personal significance in the design.

“It’s a playful choice,” Fastvold states regarding the song. “I enjoy leaving the audience with that burst of energy.”

Initially, they pondered using Erasure’s upbeat “Stop!” from 1988.

“It’s about reconnecting and harkens back to the post-disco era,” Corbet explains. “Nonetheless, for various reasons, ‘One for You, One for Me’ became the final choice. Additionally, La Bionda is an Italian band, aligning with the film’s conclusion set in Italy. Interestingly, Vince Clarke, a co-founder of Erasure and Depeche Mode, collaborated with Daniel on the synth portion of the score heard in Venice.”

What happens to László Tóth (Adrien Brody) in ‘The Brutalist’?

The film delves deeply into the troubled relationship between László and Harrison, who exhibits disdain toward the Jewish immigrant without expressing it directly. A particularly gut-wrenching moment occurs later in the film when Harrison assaults the intoxicated László, who finds himself incapacitated in an alley.

“The assault symbolizes jealousy and the desire for power,” Fastvold remarks. “Harrison craves not just the artwork but control over the artist as well.” Earlier scenes display an electrifying chemistry between Guy and Adrien, adding depth to their dynamic. However, as a writer, Fastvold emphasizes that this is not a story about sexuality but an operatic representation of power dynamics.”

Following the assault, László becomes more withdrawn, harboring anger and isolation. He eventually confides in Erzsébet, who confronts Harrison before his family and business partners.

“It was crucial to overturn audience expectations,” Corbet says. “The narrative centers on László, yet he’s hardly present in the final 30 minutes. Instead, his wife takes up his cause as he struggles with shame. The film implies that she also endured sexual violence during the war. Ultimately, she has a much healthier relationship with her trauma compared to László, who has yet to process his own.”