Right from the start, “The Brutalist” makes a strong impression: A Holocaust survivor on his way to America gazes up with joy at the Statue of Liberty, accompanied by the sound of trumpets. Yet the scene takes a turn, with the statue spinning, symbolizing that the survivor’s interpretation of the “American dream” is about to be turned on its head.

The film, “The Brutalist,” explores a toxic narrative surrounding the immigrant experience, weaving a compelling story of love and hope amid challenges and moral dilemmas. Directed and co-written by Brady Corbet, this captivating drama (★★★★ out of four; rated R; now in select theaters, with a nationwide release set for January) features Adrien Brody as a Hungarian-Jewish architect exploited by those who praise him. Brody is a strong contender for the Oscar’s best actor category and leads an impressive cast through the complexities of postwar America—a nation that claims to welcome the “huddled masses” but often fails to treat them justly.

In 1947, László Tóth (Brody) arrives in the USA, having endured immense suffering during World War II and separation from his wife Erzsébet (Felicity Jones), who is being detained at the Austria/Hungary border by Soviet forces alongside her niece Zsofia (Raffey Cassidy). László settles in Philadelphia with his cousin Attila (Alessandro Nivola) to support his cousin’s furniture business. However, a failed job strains their relationship but brings László’s talents to the attention of affluent industrialist Harrison Lee Van Buren (Guy Pearce).

After seeing articles about László’s Brutalist buildings and viewing his work firsthand, Van Buren becomes enamored and commissions him to design an ambitious institute in the countryside near Philadelphia as a tribute to his deceased mother. (Although László is a fictional character, his story draws inspiration from real-life figures associated with the Brutalist movement.) This opportunity satisfies László’s desire for a significant project and the hope of reuniting with his family.

As the film progresses into the 1950s, tensions rise between László and those around him in America, regardless of their social standing. Many look down on him, and his perfectionist tendencies lead to frustration when things fall short of his expectations. “We tolerate you,” Harry (Joe Alwyn), Van Buren’s conniving son, sneers at the passionate architect.

Van Buren himself is a volatile employer, wielding power over László at every opportunity. He crudely comments on Erzsébet’s impressive command of English in her presence, suggesting she should assist her husband, mocking that he “sounds like he shines shoes for a wage” while throwing a penny at him.

Brody excels in portraying László’s emotional evolution over the years, showcasing the confidence of an artist who knows his vision, while also revealing the insecurities of a man trying to cope with addiction and tumultuous relationships. (His role serves as an intriguing contrast to Brody’s Oscar-winning performance as a surviving musician in the 2002 Holocaust film “The Pianist.”) “I suppose that deep down, he only reveres himself,” Erzsébet observes about her husband.

Jones is impressive as well, initially presenting a frail woman in a wheelchair due to osteoporosis who later discovers newfound strength, both physically and mentally, when necessary. Pearce embodies the essence of antagonism, portraying Van Buren as a loathsome figure and a fitting symbol of the contemporary mogul.

However, the true standout of “The Brutalist” is Corbet. In his third collaboration with co-writer/partner Mona Fastvold (following “The Childhood of a Leader” and “Vox Lux”), he has created a stunning film that combines the grandiosity of “The Godfather” with the dark intricacies of “There Will Be Blood.” The production design is exceptional, featuring breathtaking locations (including a marble quarry in Italy). Additionally, Daniel Blumberg’s minimalist score offers the year’s best auditory experience in film, with its bold themes matching the visual splendor and a solo piano embodying László’s reflective moments.

Despite its lengthy duration, “The Brutalist” has no superfluous scenes. Even the title screen during the built-in 15-minute intermission is cleverly integrated into the storyline of this profoundly truthful film about our collective history and the human ability to create beauty amidst tragedy.