Pulling off this nearly 5-minute continuous “oner” took more than precision. It required a go-kart, a jeep, and seamless handoffs between multiple camera operators to keep the shot alive.
Something I'd like to add about The Brutalist is just how much I loved the movie's first half transitioning into its intermission. The letter from Erzsébet, the narration about steel, the incredible score composed by Daniel Blumberg... A match made in heaven.
I think Joel Coen cooked when he said “Why don’t we do Macbeth and cast Denzel, film the whole thing all on theatrical sets, and shoot it like a Kurosawa movie”