Brotherhood (Broderskab) (2010)
Brotherhood (Broderskab) Photos
Critic Reviews for Brotherhood (Broderskab)
An unsparing neo-noir with the structure and inevitability of classic drama...
Within the group, the confusion between rough, homoerotic fellowship among straight men and homosexuality (or the threat of it) sets up a paranoid electric charge.
Adding hot naked men to a predictable narrative doesn't equal titillating or taboo; it just means you've dressed up a messy melodrama.
Sounds trashy, sounds silly, but first-time director Nicolo Donato, who wrote the screenplay with Rasmus Birch, and a superb ensemble refuse to wink, resulting in a film that constantly subverts expectation.
This tedious, occasionally risible melodrama is a clumsily unconvincing portrait of gay romance in a neo-fascist underworld.
Audience Reviews for Brotherhood (Broderskab)
One of the most beautiful films I've ever seen, I loved it to bits. Everyone acted so well in the film, the story was cross over of American History X and Brokeback Mountain with an anti climax. I was just so glad to see such an amazing film, blending two of my favourite genres together. Well Done Nicolo Donato!!!!
What makes of a real man? Brotherhood shares a secret of the discovery of a complicated shared intimacy in a hostile Neo-Nazi fellowship that effected betrayal, hatred, and vengeance. Surprising.
"Brotherhood," a new film from Denmark, is a brilliantly acted, heart-wrenching drama about the complexities of the human heart. It has a bit of a predictable and melodramatic dimension ("Brokeback Mountain" among neo-Nazis, one might say), but there's no denying its power and humanity. Would that all melodramas had this much quality. David Dencik as Jimmy, a young neo-Nazi struggling with his emerging homosexuality, is so good and so complex that he deserves Oscar consideration. Thure Lindhart as his love interest is also very good, if a bit one-dimensional. Notable also are exceptional supporting performances, especially by Morten Holst as Jimmy's drug-addicted younger brother. The film introduces us to a close-knit band of young neo-Nazis in present-day Denmark. Their leader is in regular contact with a well-educated man of about 60, who acts as a sort of father figure to them, visiting them frequently and schooling them on the finer aspects of fascist philosophy. The film takes neo-Nazis seriously, choosing not to present them as buffoons or monsters. It certainly does not side with Nazis, but it takes seriously the attractiveness of the movement particularly for young white males who lack a sense of family and belonging. The deep fraternal bonds that emerge among them make it all the more wrenching when they have to decide how to handle the news that two of their brothers have fallen in love. The central drama concerns their competing loyalties. What is more important to the movement, brotherhood or ideological purity? If they choose ideology, how far will they go in spurning their brothers? A shocking twist at the end adds an extra layer of complexity that was appreciated. I won't reveal it, but I'll say that writer/director Nicolo Donato ponders some intriguing questions about the vantage point of the traditional gay movement. Donato seems to be reminding us that everything is not always as it seems at first. Choose your demons carefully.
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