Shane Slater
In the aftermath of 9/11, the United States waged a now infamous war on terror against jihadist groups in the Middle East. As military operations bombarded this region, the collateral damage was immense, forcing thousands into refugee status. This situation forms the focus of Raha Amirfazli and Alireza Ghasemi’s tense drama In the Land of Brothers, which follows an Afghan family forced to relocate in Iran.
The film begins in 2001 during the beginning of the aformentioned war, after the family has already fled Afghanistan. In this opening chapter, we are introduced to Mohammad, a bright young man who works in a woodshop as well as attending school. As he tries to find his place in this new world, he must deal with the harassment and exploitation by police, all while trying to attract the affection of girls like Leila, another Afghan refugee. 10 years later, Leila is the center of the narrative. Now serving a wealthy family as their hired help, her relatively comfortable situation is compromised by a dire revelation. Another 10 years later, a similar discovery burdens Leila’s brother Qasem in the film’s final chapter. As the film follows this extended family through the years, Amirfazli and Ghasemi cast an empathetic light on the struggles of the refugee experience.
Indeed, In the Land of Brothers never sugarcoats the refugee experience, establishing a somber tone from the first scene. From there, the film becomes largely defined by labor, as we see the main characters engaged in woodwork, fruit-picking, cleaning and other menial tasks. Meanwhile, there is a palpable tension surrounding the fear of deportion, which guides virtually every interaction and decision.
While the film emphasizes each of the characters’ place in the society, it falls short of fully illuminating their inner life and individuality. Mohammad’s reserved nature is notably frustrating as he quietly endures exploitation by police and inflicts self-harm. Admittedly, Hamideh Jafari and Bashir Nikzad get to show more range as Leila and Qasem, as their characters’ secrets and lies weigh heavily on them. And when they eventually unravel, the highly emotional scenes further underscore their sense of hopelessness. But still, we learn little about them outside of their trauma.
In the Land of Brothers certainly never lacks for gravitas in its depiction of the refugee’s plight. There’s also a commendable naturalism to the direction that engenders empathy. But despite its decades-spanning scope and focus on single family, it never transcends broad statements. It’s worth seeing for its assured style and impactful themes, but its lack of character development prevents it from achieving greatness.
SCORE: ★★★
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