By Anne Brodie
E.1027: Eileen Gray and the House by the Sea is a story of design excellence, theft and betrayal. Gray, an Irish born architect, potter and loner designed her masterpiece, a Modernist gem of a home in Roquebrune-Cap-Martin, France, on the Cote D’Azur. It’s described as “a white cuboid built raised on pillars open plan with horizontal windows, an open facade and a roof accessible by staircase”. In 1929 it stood out in as exceptional, odd but beautiful; but it was to be her retreat from the world. Unfortunately, she brought her lover, journalist Jean Badovici to share it, put the house in his name and dubbed it E.1027, a combination of their initials. The house was an international sensation, particularly for a female architect, as men dominated the scene. Le Corbusier (Charles-Édouard Jeanneret) fell in love and coveted it. He built Cabanon, a simple cabin right above it and later a house, breatjing down her neck so to speak. Gray eventually left Badovici and her home forever, Le Corbu go it and covered her pristine white walls with garish murals, finally ruining Gray’s intentions and legacy. The spirit of the film, its surrealism and intellect are styled as hallucinatory and surprisingly modern in 2025, as Gray’s vision was in 1929. We feel protective of Gray and her scorched legacy, remembering the men who took control and credit for her imagination. A “docufiction” starring Natalie Radmall-Quirke, Axel Moustache and Charles Morillon with archival interview with then nonegenarian Gray. Theatres today.
Speaking of architecture, if you can sit for 3.5 hours and watch an engrossing, beautifully made biopic at home that embraces intellect, design, sexuality, and complexity, The Brutalist is for you. Adrien Brody as cutting-edge Hungarian architect László Toth is a triumph; his face is capable of expressions that break our hearts and bring us joy. After being separated from his wife Erzsébet Tóth (Felicity Jones) and finally released from a concentration camp László arrives in America, the land of opportunity, hoping to establish himself and bring her over. He lives the low life, without money and becomes a heroin addict in the slums of New York. But a lifechanging opportunity arrives – he’s sought out by a wealthy mentor Atilla Van Buren (Alessandro Nivola) who wants his Doylestown, Pennsylvania home rebuilt not to look like something out of “modern” Good Housekeeping but as an expression of Toth’s aesthetic. His reputation and images of his “brutalist” structures in Europe found their way to the States. Brutalism is blocky, unpretty, soaring and defiant and ushers in a new age of design and thought. Atilla’s father (Guy Pearce) decides to build a revolutionary “community/arts/ events /religious center atop of hillock on his rural property, László creates a ceiling cross making use of the sun, another design triumph. But things sour with the Van Burens when Erzsébet arrives. Their relationship is deeply complex, both intellectuals and idealists, they’re jarred by the war and willing to find out if America lives up to its promise. Never cared for brutalist architecture but have new eyes now, appreciating its roots, utility and potential for greatness. Even the title and credits rolls are wonderful to watch. And the score!!! Seemingly a mechanical cacophony, it melts into luxurious little symphonies, what pleasure! Interesting fact – proportions of some of his work match the confines of his camp imprisonment. Streams exclusively on Max as of today.
Motherland seasons 1 and 2 now streaming on BritBox is a refreshingly honest portrait of, you guessed it, middle class English mothers. Anna Maxwell Martin kicks things off with Lucy Punch, Diane Morgan, Phillipa Dunne, Tanya Moodie with honorary mum Paul Ready as they get through their hellishly complex days holding down jobs, getting kids where they need to be, communicating with their husbands and maybe a few seconds here and there with one another or alone. Punch is Amanda who sets the social standard as self appointed boss, judging others while leading an outwardly perfect life, and don’t you forget it. Martin is Julia, who has a tough job and lacks the practical skills these professional mums have; she feels judged but fakes a chirpy, brave self. She’s trying to unload her kids off to her pals because work is increasingly demanding, i.e. they ask her to be there! – but no one bites. including her judgy mother. Loveable but ditsy Liz (Morgan) slices off a finger whilst cutting into frozen cheese to make Julia an unwanted sandwich. Julia organises a fundraiser but it’s a disaster with an extremely unfunny comedian. Egotistical Amanda boastfully grabs the stage to sell a kiss and no one’s buying, not even for one pound. Yikes. This is the kind of flat out hilarious, truth telling sitcom aimed at women and hitting the mark every time. Experience pathos, outrage, implosion, smashed phones, bitter comedy and things we might imagine we would love to do but daren’t. These gals reflect everyday lives of quiet desperation with warmth and wicked humour. Maxwell Martin manages to balance her character’s constant silent screaming meltdowns while remaining likeably engaging.