SAMIZDAT

-cy between the two outlooks.

In contrast to the socialist ideal of collective harmony, Balabanov’s Brother illustrates a rather different reality characterized by individualism, survival and competition. The prevalence of “mob mentality” is demonstrated through the tension between the rival gang members and their alliances. Within the framework of “mob mentality,” decision-making is driven by emotional rather than rational concerns; gang members must defend their teammates no matter the cost, even if it ends in bloodshed. The individual only protects the group to the extent that it protects himself, whether in the case of a criminal organization or a lovers’ quarrel. While group affiliations fluctuate throughout the movie, the one constant is Danila’s connection with the underdogs, and he goes to extreme lengths to help complete strangers. He saves Hoffman from the thugs and forcefully ensures citizens pay their passenger fee to board the trolley.

Many elements in Brother reveal the tensions of the post-Perestroika era, which struggled to reconcile with the legacies of the Soviet Union. Most notably, Viktor corrects Danila when he calls St. Petersburg by its Soviet title, “Leningrad,” denoting Danila’s lasting connection to the past. The abundance of Western goods showcases the increasing prevalence of materialism. During the Soviet era, foreign goods were only accessible through the black market, but industry privatization led to the widespread availability of consumer goods in the 1990s. Notable brands are everywhere: Viktor drinks Hennessy, Kat eats a McDonald’s burger and Danila purchases clothing from Littlewoods. Balabanov blends the socialist culture of the past with the newly emerging capitalist culture of the 1990s, with Danila’s Walkman Player as the pivotal intersection of the two eras. The use of Nautilus Pompilius, an influential Soviet rock band, for the film’s score further illustrates how cultural remnants of the past lingered even as Russia moved away from its Soviet history.

Overall, Brother is an enthralling viewing experience and a great use of 97 minutes. Aside from providing a holistic and informative context to post-Soviet and pre-Putinist Russia, it is action-packed and heart-throbbing without being overly excessive. The acting and score are nothing short of phenomenal. It is impressive how Balabanov produced such a fantastic piece of cinema with only 50,000 dollars. Ironically, its commercial success resonates with the economic success many hopeful Russians sought at the time. I highly recommend it to all, not only those curious to learn about post-Perestroika Russia but anyone who wants a fast-paced dopamine release. I am excited to watch the sequel and am curious how Balabanov develops these dialectical themes of socialism and individualism as the two brothers traverse across the Bering Strait to the home of capitalism– the United States.