Lady Liberty turned on her head is the sort of image one might expect a surly teenager with artistic aspirations to produce after reading The Great Gatsby or Howard Zinn, and it is the first image that the viewer of Brady Corbet’s third feature, The Brutalist , sees once the VistaVision logotype, announcement of an overture, and a countdown have flitted across the screen. Such elaborate window dressing is clearly intended to convey the magnificence of classic cinema, but also America, which