The Dongfeng M-Hunter embodies 'automotive brutalism,' revealing its utilitarian design with bold, exposed structural elements that communicate strength and capability.
The aluminum stationery set embraces a clinical aesthetic reminiscent of traditional office equipment, merging brutalist design with contemporary organizational functions.
The film opens with László Tóth, a Hungarian Jewish refugee, navigating the immediate aftermath of World War II. Director Brady Corbet uses darkness to symbolize the shadows of the past haunting him, particularly his wife’s disembodied voice echoing loss and separation, emphasizing the emotional toll of migrant lives interrupted by trauma.
