Irmãos

It's rare to find a movie with a meaningful, political context that is also good drama. Brødre / Brothers has two interwoven story lines: one about the relationship between two brothers, the other about the difference between comfortable Western civilizations sending out soldiers to various missions and the actual war zones. These stories mirror each other and both brothers change roles during the movie: One starts in prison, the other ends up there; one is a family man; the other takes over this role after his brother's death. There is a nice ending, but I find that the only element not fitting the overall structure.

I like this also because it is well edited. Synchronization of images is used to tell the story of Michael in Afghanistan and Sarah in Denmark. Frequently a shot of Afghanistan is shown and directly followed by the same shot in Denmark: looking at a road, from a bus or car, etc.

Initially rhythm is established through a central 'Afghan' theme song. Once the characters are established in our minds, the acting takes over. I'm still wondering why Danish actors (and Scandinavian actors in general) are so good in what they do: Is that a compulsory subject in primary school there because even the children act so unbelievably natural.

The ethical dilemmas facing soldiers are well presented. Michael first has to demonstrate how a launcher works, knowing it will be used against his own people. Then comes the ultimate decision. The traumas he faces are real and reminded me of actual, similar stories of soldiers returning from Bosnia, Afghanistan or Iraq.

Susanne Bier has come out of the Dogme-movement as one of the better directors. In a world with not that many (talented) female directors she is someone to be cherished.

It's not hard to classify this one--it's an intense psychological drama. Whatever mood you were in before you started, you are most likely to be in a somber mood at the end. Perhaps the less you know about the story the more it will involve you. This is one of those movies that makes you ask the questions, "What would I have done in that situation," and "How would I have lived with my decision."

The main thrust of the story is an intimate examination of how a tragedy affects family dynamics. Nature abhors a vacuum. Guilt, jealousy, and doubt drive this to an intense climax.

Parformances are first rate, particularly Connie Nielsen.

The Danish film "Brothers" 2004 aka Brodre, w-d by Susanne Bier, is NFE (may not be for everyone). It's about love, a showdown of emotions (the opening music and repeated strains remind me of Sergio Leone's spaghetti western sounding tone). The fact that Michael ('Tour De Force' performance from Ulrich Thomsen of "The Celebration" 1998 aka Festen) keeping his traumatic experience within himself, unable to share with anyone, even his dear wife, is a sobering thought from the post-war effects. He's full of paranoia and is suspicious of everyone around him. It's so hard on him, on family members/children who do not understand what he had gone through that affected his 'warped' emotions and predicament. We cannot weather trauma alone.

As audience, we were privy to what happened to Michael as a prisoner of war - we saw what he had to experience - the circumstance and 'no-choice' decision at the time. His determined will focused on 'must stay alive to see his family and loving wife again' kept him hanging on amidst fear and uncertainty under the atrocities/ravage of war. Learning to forgive oneself - to not blame yourself - is not easy to do. What happen happened under circumstances out of your control and yes, it's easier said than done to say that you mustn't bear the burden or guilt feeling within you. We need the love and support of family/people around us - to be able to trust them that they would listen and understand.

Connie Nielsen as Michael's wife Sarah and Nikolaj Lie Kaas as Michael's younger brother, Jannik, provided an insightful portrait of the triangle of relationships that thrived and yet to survive. In the opening of the film, Bier has on screen along with intriguing graphic imagery and an eye close-up: "I will always love you. That is the only truth that remains. Life is neither right nor wrong, good or bad. But I love you. That's all I know." Towards the end, the graphic imagery and the eye repeated: "Life is neither right nor wrong, good or bad. But I love you. That's all I know."

I caught on Sundance Channel, Dutch documentary filmmaker Heddy Honigmann's "Crazy" 2000, provides 'unpresuming' accounts of how some of the once Dutch soldiers or former workers of UN missions, are dealing with post-war effects by listening or tuning to music as relief. She also did "Good Husband, Dear Son" 2001, a documentary about the surviving women reminiscing their loss of husbands and sons during the 1992 Yugoslav civil war. It's heart-breaking films worth watching.

From the PBS special of Dr. Wayne Dyer's Inspiration: Your Ultimate Calling, I heard about Immaculée Ilibagiza's book (collaborated with writer-journalist Steve Erwin) "Left To Tell: Discovering God Amidst the Rwandan Holocaust" - sounds like the act of forgiveness can be easier to practice by learning from her autobiographical account. Couldn't wait to absorb from her shared spirituality.

Brothers (2004)

A remarkable movie in several ways. The first is just that it's well made, with two main layers of story line that are compelling, and some surprising and mostly believable turns. The second is that we (in the U.S.) have a look at the war in Afghanistan from non-American eyes. The echoes are inevitable, and so are the differences, in attitude by the soldiers and in public reaction.

The lead actor Ulrich Thomsen is compelling and versatile, and in some ways makes the movie. His range (which you have to see for yourself or you'll be tipped off) is terrific. His wife, played by better known Connie Nielsen (in her first Danish movie, even though she is Danish herself, and knows seven languages) is perfect, too, though she plays someone who is admittedly "boring" and so has less range. Finally, the lead man's brother, Nikolaj Lie Kaas, is charming and a wild card, making the trio appropriately imbalanced.

I say all this because it's an acting movie, and a movie about relationships and therefore about plot. It's not a war movie, but more about the effects of war. It's recommended for people who have absorbed American movies like The Hurt Locker. But more than that, it's just a well made, emotional, human interest film. There are a couple flaws (including the key part about the helicopter crash, which just doesn't hold up to common sense), but they are small in the larger, gritty realism of the whole.

The movie is filmed mostly with hand held camera, and the technical quality is not the best. I am normally not a fan of these so called "Dogme" movies, but it gives the opportunity to tell a story with a small budget and without having to waste time on special effects and so on. And what a movie. The actors play so intense and fascinatingly well, that I often sat on the edge of the seat, had "goose bumps"(gaasehud), wept like whipped(graed som pisket). The cutting is also very special and interesting. For instance a scene, where representatives of the military arrives to tell Sarah, that her husband is missing, it is cut right before they tell her the bad news. It gives a good effect. I would also like to welcome Connie Nielsen to the staff of fantastic Danish actors(her first danish movie) and will look forward to possibly/eventually watch/experience her great magic i a Danish movie again. I must write her a fan letter(my first).