複選題16.(AB) None had to queue for free bread. (AC) Just as Gladiator II recently vexed classicists with its inaccurate portrayal of the emperors, so too has director Brady Corbet riled the architecture world by playing fast and loose with his interpretation of brutalism, the Bauhaus, and postwar immigration. (AD) Now brutalism, the once-maligned postwar architectural style of chiseled concrete forms, has finally reached Hollywood, in the form of an epic three-and-a-half-hour film that looks set to sweep the Oscars. (AE) But he first made his name designing curved tubular steel furniture, of a kind practically identical to Tóth’s in the film’s early scenes. (BC) Titled Presence of the Past, it was the moment that postmodernism took ascendancy, seeing a colorful parade of architects indulging in cartoonish historical references, embracing wit, humor and knowing pastiche. (BD) In the movie, Brody’s tortured Tóth bristles with single-minded egotism, driven to the edge of sanity by his dogged devotion to the project, choosing to quit and shovel coal rather than see his vision compromised. (BE) For almost an hour, they railed against everything from the stereotypical depiction of the architect as a lone male genius to the Bauhaus-inspired graphic design of the credits.