Written and directed by Clement Virgo, co-written by David Chariandy, sons of Caribbean immigrants, Francis and Michael face questions of masculinity, identity and family amid the pulsing beat of Toronto’s early hip-hop scene. Starring: Lamar Johnson, Aaron Pierre, Marsha Stephanie Blake, Kiana Madeira and Lovell Adams-Gray.
When you’re thinking of a story about two young Black men, growing up surrounded by crime, the children of an immigrant, single parent, a lot of filmmakers would go for a grit, rawness and roughness but Clement Virgo took Brother in a completely different direction. It’s hard not to draw a comparison to Moonlight because Virgo creates such a poetic, thoughtful atmosphere. It has that similar depth of presence, the way that it moves is so patient and compelling. The use of music, particularly Nina Simone, brings a melancholy quality which perfectly blends with the tone of the story.
There’s a richness to the aesthetic which then matches that depth of tone, the visual is enveloping. The impressive thing is that it still manages to capture that everyday quality, at the same time as being more expansive and imposing. One of the potentially divisive choices that Virgo and Chariandy make is with the progression of the story, it isn’t framed to satisfy your curiosity. It moves in a way that serves to draw out your emotion and create a connection. It does a fantastic job of portraying the struggle of these characters in a way that respects its very real foundation.
What these characters represent are not a unique example of struggle but a common one. It takes issues that are faced by the Black community on a daily basis, even today, and views them through a meaningful, sensitive and rhythmic lens. It’s not all smooth sailing, there are a few choices of shots which can feel a bit manipulative but at the same time, it keeps the hits coming to really enhance the emotional impact of Brother.
Undoubtedly, a huge part of why it has such an enthralling presence are the performances. Starting with Aaron Pierre’s sublime portrayal of Francis, it is encased in such complexity, internal conflict and compassion. He has such a captivating air to him, it’s filled with strength but also frustration, how sick he is of living in a world that doesn’t want him to succeed.
Whereas with Lamar Johnson’s Michael, you see how he’s been protected by Francis, and it’s allowed him to become more sheltered and shy. There’s a sweetness to him, one that comes out in both his and Pierre’s performances when Marsha Stephanie Blake steps into frame. Her performance is very different, she comes in and out, and each time she’s different, there’s a clear evolution to her character which is paved with brokenness.
Brother is thoughtful, compelling and poetic. Led by an impressive trio of performances from Lamar Johnson, Aaron Pierre and Marsha Stephanie Blake, who so perfectly match the depth to this story. There’s a palpable sadness which runs throughout the film, it was never about where they end up but how their experiences shape them. It’s a strong return to the big screen for Clement Virgo after sixteen years and hopefully there’s more to come.
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