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NoneOne night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.

Report: Chargers expect WR Ladd McConkey, LB Khalil Mack to play vs. RavensTrump shooting task force unveils bombshell final report on 'preventable' assassination attempt By KATELYN CARALLE, SENIOR U.S. POLITICAL REPORTER IN WASHINGTON, D.C. Published: 15:44 EST, 10 December 2024 | Updated: 16:32 EST, 10 December 2024 e-mail 21 View comments The House Assassination task force released its final and longawait report on Tuesday. The 180-page report claims the deadly shooting at Donald Trump 's Butler, Pennsylvania rally on July 13 was 'preventable and should not have happened.' It was released just days after its final public meeting last week where Acting Secret Service Director Ronald Rowe got into a screaming match with Rep. Pat Fallon (R-Texas). Rowe did acknowledge at the hearing the agency's 'abject failure' in the July shooting. The 13-member panel was created by a House vote shortly after the first assassination attempt over the summer. And a few months later they were asked to also look into the second incident. The group concluded that there was no single failure that allowed shooter Thomas Matthew Crooks to fire at Trump, but 'various' decisions and moments that created an ideal situation for the assassination attempt. The Task Force on the Attempted Assassination of Donald Trump released a series of recommendations it feels will help prevent future incidents. Members of the task force visited both sites where men tried to take out the former – and now future – president. The House Assassination Task Force released its final report on the two attempts on Donald Trump's life The task force said it conducted 46 interviews and reviewed 18,000 pages of documents. Crooks, who was 20 when he was shot dead by a Secret Service counter sniper, killed one rally goer, injured two others and was able to strike Trump in the right ear before he was neutralized by the former president's protective detail. '[T]he former President—and everyone at the campaign event—were exposed to grave danger,' the committee wrote. 'Conversely, the events that transpired on September 15, 2024, in West Palm Beach, Florida, demonstrated how properly executed protective measures can foil an attempted assassination,' they added. The bipartisan task force was created to investigate the July 13 attack that came just centimeters away from ending Trump's life. But when a second assassination plot was foiled just two months later on September 15, the panel was also asked to include that incident in its probe. While Crooks was able to get just several hundred feet in range of Trump with a rifle and discharge several shots , Ryan Wesley Routh, 58, didn't even fire a shot before a Secret Service agent opened fire in his direction. Routh was posted outside Trump's West Palm Beach golf course in the shrubs when he pointed the barrel of his firearm through the fencing and bush. An agent surveying the green a few holes ahead of the then-2024 presidential candidate spotted the scope and fired in the direction of the threat. Routh fled the scene but was captured shortly after and taken into custody. His firearm, backpacks with bulletproof materials and a GoPro camera were recovered from where he was camping out since the middle of the night. The Assassination Task Force said the second incident was an example of what should be done by the Secret Service to best guard their protectees. While the first assassination attempt was used as an example of how a series of failures can lead to a deadly situation. Read More BREAKING NEWS Republican lawmaker EXPLODES at Secret Service boss The report comes just days after their final hearing, which devolved as Rep. Fallon got into a fiery back-and-forth with Acting Director Rowe. An impassioned shouting match broke out after Fallon struck a nerve when he pressed Rowe about security measures in place to protect Trump, Joe Biden and Kamala Harris at the September 11 remembrance this year. It led to a bitter argument between the two men at the hearing on Thursday, which was supposed to be focused on the security failures surrounding Trump's protective detail. But the conversation turned to what Fallon considered to be another Secret Service security problem two months after the first attempt – and just days before the second. Fallon said the agent in charge of the detail should have been stationed physically closer to Trump, Biden and Harris when they all attended a 9/11 commemoration event at Ground Zero. When asked about why the SAIC was out of range, Rowe insisted that he and other members of the detail were just outside of view of the image Fallon had blown up to exhibit at the hearing. Rep. Pat Fallon (R-Texas) got into a heated screaming match with U.S. Secret Service Acting Director Ronald Rowe during the final House Assassination Task Force hearing 'Do not invoke 9/11 for political purposes, congressman,' Rowe yelled at Fallon over a barrage of cross-shouting after the lawmaker displayed an image of the Acting Director at the Ground Zero service this year 'That is the day that we remember the more than 3,000 people that have died on 9/11,' Rowe said, starting to raise his voice. 'I actually responded to Ground Zero. I was there going through the ashes of the World Trade Center,' he went on. When Fallon tried to cut in, Rowe did not back down, causing the congressman to begin shouting. 'I'm not asking you that. I'm asking you, were you the special agent in charge?! You were not,' Fallon charged. 'Do not invoke 9/11 for political purposes, congressman!' Rowe was heard yelling over a barrage of cross-shouting. 'I'm trying to ask a question. Don't try to bully me!' Fallon screamed and pointed at the witness. 'You are out of line, congressman!' Rowe fired back. 'Way out of line.' Pennsylvania Texas Thomas Matthew Crooks Share or comment on this article: Trump shooting task force unveils bombshell final report on 'preventable' assassination attempt e-mail Add comment

Global stocks end mostly up with DAX crossing 20,000 for 1st time

Ducks hope to snap 3-game skid in Ottawa or Toronto

RJ Thompson scored 23 points -- including the go-ahead 3-pointer with 56 seconds left -- as Charleston Southern shocked host Miami 83-79 on Saturday afternoon. Miami entered the game as a 23.5-point favorite. Charleston (2-7) won its first game of the season away from home after losing its previous six road or neutral-court contests. The Buccaneers also got 21 points from Thompson Camara and 20 points and 11 rebounds from Taje' Kelly. Camara match his previous career point total. Miami (3-4), playing at home for the first time in two weeks, lost its fourth straight game. Brandon Johnson led Miami with 23 points and freshman Austin Swartz scored a career-high 15. Swartz entered the game averaging just 2.3 points For the first time this season, Miami was without Nijel Pack, who has a lower-body injury. Pack leads the team in scoring (15.2) and assists (4.7). With Pack out, five-star freshman Jalil Bethea made his first start and had six points. The game featured quite a contrast in coaches. Miami's Jim Larranaga, 75, has won 743 games in 41-plus seasons. Charleston Southern's Saah Nimley, 31, is in his full first season as a head coach. He was named interim coach in November 2023. In the first half, Miami raced to a 17-10 lead. However, Charleston Southern posted an 11-0 run to grab a 21-17 advantage. The Hurricanes lost control late in the first half as Miami's Johnson hit a 3-pointer and was hit with a technical foul for taunting. Later in the first half, Larranaga was also hit with a technical. By the end of the half, the Buccaneers led 45-37. Camara led Charleston Southern with 16 first-half points on 6-for-7 shooting, including 4-of-5 on 3-pointers. Johnson scored 12 for Miami in the opening half, all on 3-pointers. In the second half, Charleston Southern stretched its lead to 13. Miami rallied as the clock wound down. With 38 seconds left, Miami called a timeout while trailing 81-79. With 15 seconds left, Swartz missed a 3-pointer and the Buccaneers got the rebound. Daylen Berry made two free throws with 11 seconds left to ice the game. Up next, Miami will host No. 19 Arkansas on Tuesday night as part of the ACC/SEC Challenge. Charleston Southern will return home to face Tennessee-Martin on Tuesday night. --Field Level MediaHyderabad: The eight-year-old boy, who was injured in the stampede during the screening of ‘Pushpa 2’ here on December 4, was taken off oxygen and ventilator support as his condition is improving, his father has said. Quoting doctors, Bhaskar, however, said the boy’s recovery will take time. Meanwhile, the hospital on Tuesday said Sritej continues to maintain stable vital parameters on his own without any oxygen or ventilatory support. “His sensorium is similar with spontaneous eye opening and spontaneous limb movements but there is still no meaningful eye contact or recognition of family members,” it said in a health update. The boy is waking on verbal stimulus but not following any oral commands. He is tolerating feeds via nasogastric tube well and is afbrile since last three days, the hospital said. Several film personalities and political leaders are making a beeline to visit the child at the hospital. Leading film producer and Film Development Corporation (FDC) chairman Dil Raju who visited the boy on Tuesday said he would ensure that the family gets support from the film industry and also the government. He said he is ready to provide a permanent job to Bhaskar in the film industry if he was interested. But, the immediate priority is the boy’s recovery. The chief minister Revanth Reddy has also appreciated the idea of providing a job to Bhaskar, Dil Raju said. Referring to reports that the state government is not addressing the concerns of the film industry in the stampede issue, he said the CM has assured of the government’s support. The 35-year-old wife of Bhaskar died during the Pushpa 2 stampede at the Sandhya Theatre in Hyderabad on December 4, while his eight-year-old son was hospitalised. Following the incident, the city police registered a case against Allu Arjun, his security team, and the theatre management under different sections of Bharatiya Nyaya Sanhita (BNS) at the Chikkadpally police station based on the complaint lodged by the deceased woman’s family. Allu Arjun, named as accused no 11, was arrested by the city police in connection with the death of the woman on December 13. The Telangana High Court granted him a four-week interim bail on the same day and he was released from a prison here December 14 morning.

Charles Schwab Investment Management Inc. raised its stake in shares of S&T Bancorp, Inc. ( NASDAQ:STBA – Free Report ) by 3.1% in the 3rd quarter, according to its most recent disclosure with the SEC. The firm owned 1,432,510 shares of the financial services provider’s stock after purchasing an additional 43,268 shares during the period. Charles Schwab Investment Management Inc.’s holdings in S&T Bancorp were worth $60,122,000 as of its most recent SEC filing. A number of other hedge funds and other institutional investors have also bought and sold shares of the stock. Louisiana State Employees Retirement System lifted its position in shares of S&T Bancorp by 1.6% during the 2nd quarter. Louisiana State Employees Retirement System now owns 19,200 shares of the financial services provider’s stock valued at $641,000 after buying an additional 300 shares in the last quarter. Hennion & Walsh Asset Management Inc. boosted its position in shares of S&T Bancorp by 2.8% in the third quarter. Hennion & Walsh Asset Management Inc. now owns 12,103 shares of the financial services provider’s stock worth $508,000 after purchasing an additional 326 shares during the period. The Manufacturers Life Insurance Company boosted its position in shares of S&T Bancorp by 2.6% in the second quarter. The Manufacturers Life Insurance Company now owns 19,436 shares of the financial services provider’s stock worth $649,000 after purchasing an additional 498 shares during the period. GAMMA Investing LLC increased its stake in shares of S&T Bancorp by 80.8% in the third quarter. GAMMA Investing LLC now owns 1,177 shares of the financial services provider’s stock worth $49,000 after purchasing an additional 526 shares in the last quarter. Finally, HBK Sorce Advisory LLC raised its position in shares of S&T Bancorp by 4.2% during the 2nd quarter. HBK Sorce Advisory LLC now owns 14,557 shares of the financial services provider’s stock valued at $486,000 after purchasing an additional 584 shares during the period. Hedge funds and other institutional investors own 65.22% of the company’s stock. Analysts Set New Price Targets Separately, StockNews.com raised shares of S&T Bancorp from a “sell” rating to a “hold” rating in a report on Thursday, October 24th. Insider Activity In related news, Director Frank J. Palermo, Jr. sold 4,982 shares of the stock in a transaction that occurred on Wednesday, November 13th. The stock was sold at an average price of $43.21, for a total transaction of $215,272.22. Following the completion of the transaction, the director now directly owns 23,143 shares of the company’s stock, valued at approximately $1,000,009.03. This represents a 17.71 % decrease in their ownership of the stock. The sale was disclosed in a filing with the Securities & Exchange Commission, which is accessible through this link . Company insiders own 1.38% of the company’s stock. S&T Bancorp Stock Down 1.3 % Shares of STBA opened at $42.79 on Friday. The business’s 50 day moving average is $40.89 and its 200 day moving average is $38.49. The company has a current ratio of 0.99, a quick ratio of 0.99 and a debt-to-equity ratio of 0.08. S&T Bancorp, Inc. has a 12-month low of $27.43 and a 12-month high of $45.79. The company has a market capitalization of $1.64 billion, a PE ratio of 12.19 and a beta of 0.80. S&T Bancorp ( NASDAQ:STBA – Get Free Report ) last released its quarterly earnings data on Thursday, October 17th. The financial services provider reported $0.85 earnings per share (EPS) for the quarter, beating the consensus estimate of $0.82 by $0.03. S&T Bancorp had a net margin of 23.69% and a return on equity of 10.25%. The firm had revenue of $96.35 million for the quarter, compared to analysts’ expectations of $98.90 million. Research analysts expect that S&T Bancorp, Inc. will post 3.36 earnings per share for the current fiscal year. S&T Bancorp Increases Dividend The business also recently disclosed a quarterly dividend, which was paid on Thursday, November 21st. Shareholders of record on Thursday, November 7th were issued a dividend of $0.34 per share. This represents a $1.36 annualized dividend and a dividend yield of 3.18%. The ex-dividend date of this dividend was Thursday, November 7th. This is an increase from S&T Bancorp’s previous quarterly dividend of $0.33. S&T Bancorp’s dividend payout ratio is 38.75%. S&T Bancorp Profile ( Free Report ) S&T Bancorp, Inc operates as the bank holding company for S&T Bank that engages in the provision of retail and commercial banking products and services. The company operates through six segments: Commercial Real Estate, Commercial and Industrial, Commercial Construction, Business Banking, Consumer Real Estate, and Other Consumer. Further Reading Want to see what other hedge funds are holding STBA? Visit HoldingsChannel.com to get the latest 13F filings and insider trades for S&T Bancorp, Inc. ( NASDAQ:STBA – Free Report ). Receive News & Ratings for S&T Bancorp Daily - Enter your email address below to receive a concise daily summary of the latest news and analysts' ratings for S&T Bancorp and related companies with MarketBeat.com's FREE daily email newsletter .