
Brothers
2017

Representation Score
Minimal
1999
Director
Miroslav Lekić
Runtime
130 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Miroslav Lekić’s drama is a focused study of communal tension and the fragility of social order. It prioritizes psychological depth and the deconstruction of social structures over broad demographic representation. The film uses a singular object to explore how violence disrupts established hierarchies. While the film excels at examining the roots of conflict and the descent into violence, it lacks diverse representation. The narrative is primarily centered on a masculine struggle for dominance, offering limited space for varied identities or gender challenges. Ultimately, the work serves as a localized, humanistic inquiry into human nature. It avoids simplistic moralizing, opting instead to examine how identity and ancestral history intersect with primal instincts.
Category Breakdown
The film does not include any LGBTQ+ characters. The story focuses solely on the social framework of the rural setting.
The story centers around male-dominated social dynamics. It lacks strong female roles and fails to challenge traditional gender hierarchies.
Set in a Balkan context, the film explores identity and ancestral roots. It delves into localized ethnic and lineage-based themes.
The film provides a nuanced look at spirituality and morality. It portrays the breakdown of social order as a systemic issue rather than a simple conflict.
The film does not feature any characters with visible or invisible disabilities as central plot drivers.
Present on Screen
Limited or Absent
Official Synopsis
In attempt to find out who he is and where his roots lie, Alija Osmanović discovers something far deeper and more important. He slowly discovers an evil that follows him as his destiny regardless of what his ancestors were called. Trying to find the reasons for this evil, he finds himself in a vicious circle. Running away from an irrational fear within him, he eventually finds the road to his faith.

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