Mona Fastvold

Attila confronts his cousin Laszlo after a business deal goes south, revealing that they have been denied payment for their work. The scene explores themes of betrayal, family obligation, and the harsh reality of the immigrant experience as Attila severs their professional ties.

Laszlo, a visionary architect and Holocaust survivor, reflects on the permanence of his work versus the fragility of human life and political stability. He explains to Van Buren how his buildings were designed to outlast the cycles of war and social upheaval that displaced him.

A eccentric, visionary, slightly manic, accommodating LASZLO & VAN BUREN's duologue from "The Brutalist" by Brady Corbet & Mona Fastvold. Genre: drama.

An ambitious architect, Laszlo, visits his wealthy patron, Van Buren, who is recovering in bed from a hangover. Van Buren excitedly outlines his grand vision for a cultural center in Doylestown, while Laszlo attempts to navigate his benefactor's eccentricities and financial indifference.

A determined, hopeful, slightly humorous LASZLO's monologue from "The Brutalist" by Brady Corbet & Mona Fastvold. Genre: drama.

Harry Lee Van Buren approaches Attila and his cousin Laszlo with a request to renovate his father's study into a proper library. The scene establishes the class dynamic between the wealthy client and the immigrant craftsmen as they discuss the technical requirements of the project.

Laszlo confronts his cousin Attila about his new Americanized identity and business name while providing a blunt critique of the showroom's furniture. The scene highlights the tension between artistic integrity and the pragmatic survival of immigrants in post-war America.

Harry Lee and Michael Hoffman discuss the logistics and funding of a new community center project with the architect Laszlo. Tensions arise as Harry reveals new religious requirements for the building's design and introduces a pre-selected contractor to manage the budget.

During a formal dinner, Laszlo Toth discusses the forced separation from his wife and niece in post-war Europe. The Hoffmans and Van Buren offer legal and political assistance to help navigate the complex immigration laws of the United States.

Laszlo, a Hungarian refugee and architect, finds himself unable to engage emotionally or physically with a prostitute in a brothel. The scene highlights his profound sense of displacement and his intellectualized, detached view of the world as he inadvertently insults the woman while struggling with his own self-loathing.

Laszlo Toth writes a desperate and hopeful letter to his wife, Erzsebet, detailing his efforts to secure her and their niece's passage to America. He explains his connection with an influential attorney and hints at a new architectural opportunity that could change their fortunes.

A tense and awkward late-night interaction between a struggling immigrant architect and his host's companion. Audrey questions Laszlo's living situation and professional pride while he grapples with his diminished status and the physical toll of his current circumstances.

Harrison Lee Van Buren Sr. returns home early to find his study gutted and two strangers working inside. He confronts Attila and Laszlo with elitist fury, demanding to know who authorized the destruction of his property while they attempt to explain his son's involvement.

Harrison Van Buren recounts a cold and calculated story about his estranged grandparents to Laszlo Toth, revealing his ruthless nature under the guise of filial piety. The scene highlights the power dynamics and moral vacuum of the wealthy elite as Van Buren describes withholding a large sum of money simply because he was unimpressed by his relatives' reaction.

A wealthy industrialist, Van Buren, tracks down a struggling immigrant architect, Laszlo, to apologize for his previous behavior and settle a debt. Van Buren reveals he has discovered Laszlo's prestigious Bauhaus background and offers him both financial restitution and a chance to see his work properly recognized.