Film Review – Brother (2022)

The buzz of electricity from an electrical tower reverberates so loudly that it is almost palpable. Two siblings gaze up to its precipice, their clear intent to scale it. The older of the siblings leads the way, the younger much less certain. As they begin their ascent, the film cuts to ten years later. This endeavour between the two siblings will act as a keystone for the rest of the film and much like the electrical current – Brother reverberates with an underlying energy that is palpable throughout.

The siblings in question are Francis (Aaron Pierre) and Michael (Lamar Johnson). The sons of immigrant parents, a single mother who works as many hours as she can get and an absent father, the brothers could not be any more different from each other. Eldest brother Francis is popular, confident and self-assured. Tall and physically intimidating, others know not to mess with him not that he would let them try anyway. Michael meanwhile is much smaller, not only in stature but in confidence. He is reserved and often looks to Francis for guidance, a fact that Francis berates him for.

It soon becomes clear during the ‘ten years later’ segment that something has happened, and that Francis is no longer around. It is also clear that Francis’ absence has changed Michael and their mother fundamentally. As the film weaves together the boys’ childhood, teenagerhood and young adulthood, the audience slowly discovers the formative events that have shaped the brothers’ lives.

Adapted from the award winning novel of the same name by David Chariandy and directed by Clement Virgo, a large part of Brother relies on the relationship between Francis and Michael. If the relationship between the brothers isn’t believable then the audience quickly loses engagement.

Luckily, Pierre and Johnson have brilliant chemistry together. Both actors put in arguably one of the finest performances audiences have seen from them and the audience is completely invested in their lives throughout the film. Marsha Stephanie Blake is also a standout here and is simultaneously incredibly fierce and tender as the boys’ mother.

Brother is elevated by a wonderful score, perhaps one of the best of the year so far, from Todor Kobakov. It is never too intrusive yet evokes the requisite emotion at every turn. Clement meanwhile has ensured that Brother looks fantastic throughout. Brother is beautifully constructed with frames that feel so incredibly thoughtful. For example, there are multiple frames that place the two brothers in the centre. The brothers may be at the centre of the film, but they are also at the centre of each other’s worlds.

Brother is a compellingly told, poignant and emotive portrait of coming of age and the pain, loss and regret that accompanies it. The term ‘brother’ is so much more than just a familial term in this film. It is a kinship that transcends blood and duty – it is a confidante, a companion and a friend. And by the film’s end, the use of the singular ‘brother’ rather than the plural ‘brothers’ will hit home like a ton of bricks.

★★★★★

Drama | USA, 2022 | 15 | Cinema & Curzon Home Cinema | 15th September 2023 (UK) | Curzon | Dir. Clement Virgo | Lamar Johnson, Aaron Pierre, Marsha Stephanie Blake, Kiana Madeira