America before the election with a focus on Vienna

“The Brutalist” Farewell to the “American Dream” by Brady Corbett

American director Brady Corbett leaves little to be desired in his third directorial venture “The American Dream,” the best-film epic “The Brutalist” won the directing prize at Venice and will be released in Germany in January. His promises are very dishonest.

The ruthlessness and cold anti-Semitism of American capitalism

In 1947, the American dream was still somewhat intact, and it was revived by the victory over Nazi fascism. Here begins the story of a fictional Bauhaus architect who, a Hungarian and a Jew, narrowly escapes the Nazis' machine of destruction, arrives in Pennsylvania as an immigrant, and initially makes his fortune through “brutal” architecture.

Theatrical Trailer: Brady Corbett's “The Brutalist”:

But in the end he fails – the brutal coldness of American capitalism and anti-Semitism hits him again and again: “They don't want us here” – “They don't want us here” is desperate. Realized for over 20 years.

The villain resembles a portrait of Donald Trump

The villain in this story is, after all, a flamboyant, self-righteous multimillionaire who dreams of immortalizing himself through buildings and thinks he has no limits—a fool, with a good-for-nothing son behind the figure and a brilliant daughter who could be re-elected president of the United States next week. Don't even find a portrait of Donald Trump.

A good dozen pictures show the situation in America

“The Brutalist” is the most fascinating of a dozen or so American films that, taken together, offer a mosaic of contemporary American sensibilities. Hollywood is mostly on the side of Democrats and Kamala Harris, not just American experts.

Scott Cumming's portrait of Satanists in America

Otherwise, American filmmakers have something very different to say about their country: for example, Scott Cumming's “Satan's Realm,” an extraordinary documentary about Satanists who worship Satan, but live a friendly life. Neighbors, people doing laundry or cleaning their cars.

Filmmakers are running for prime locations

In other documentaries we meet environmental pioneers in the wilds of Northern California, see Jesse Eisenberg as a cross between man and animal, or Alex Ross Perry's semi-fictional account of the post-Dot Band Pavement, all small escapes, not from the filmmaker. True, but in their main places.

Sean Baker's “Anora” wins Palme d'Or at Cannes

Sean Baker's “Anora,” which won the Palme d'Or at Cannes this spring, was shown here this week — what at first glance seems like a grand escape is actually a clever play with “Cinderella.” Fairy tale and the American dream. On the one hand, “Anora” extracts her, Because the dream factory can't believe him either, but in the end, the film keeps him alive – and precisely because of this, it makes the audience think about him.