FILM: Brats

Some movies teach us valuable lessons (sharks kill; hookers have hearts of gold; white men can’t jump), but when the family in Zdenek Tyc’s film Brats move to the countryside to escape the racism directed at their two adopted Romany sons it’s obvious that they haven’t seen Straw Dogs. Predictably, it all ends in tears when one of the Romany boys is falsely accused of damaging a local man’s car. The family are then forced to face the subtle and overt racism of residents as well as what defines them as a family.

Set in a culture and country in transition, the film explores how people adapt to change and how these changes force them to re-evaluate what were once cultural norms. The old man whose car was damaged and his wife, whose racism is both overt and passive, are of an age where much of their lives were spent under communist rule. Largely cut-off from other cultures, it would be strange to find their town now home to people whom they would not consider Czech. The modern world is encroaching on their existence – Tesco, motorways, immigration and new types of family units.

The family, on the other hand, struggle with the very concept of family. Is it wrong for the mother to be so protective of her young, blonde, asthmatic, natural son? If Romany boys are both adopted with different birth mothers are they still brothers? If so, why can’t their young friend be their brother too? Are the boys Czech, Romany or half-Romany?

As with Show Me Love, the director used very talented and natural young actors. Unfortunately, he spoils many of the performances by clumsily forcing long intense shots of the characters. The viewer is already aware of what the characters are feeling and these images of their distress and sadness seem manipulative and become irritating. The cinematographic trick that did work was the use of various shots of the village from the treetops and showing the surrounding hills. The town seems like an isolated dimple in the countryside until we see the motorway bridge and the lights of traffic at night remind us of the encroaching urban expanse.

Brats is a film that attempts to deal with topical issues in the Czech Republic, but falls short in its execution. Does it qualify as art? Yes, but not terribly enjoyable art.

FILM: Show Me Love

** I am spoiling the ending here so don't read it unless you want to know what happens **

For quiet teenage lesbian Agnes (Rebecka Liljeberg), making friends in the depressingly dull Swedish town of Åmål is harder than assembling an Ikea wardrobe. She finds herself forced out of her flat-pack closet after an encounter with school rebel and object of her secret desires, Elin (Alexandra Dahlström), who cruelly tricks her into thinking that she is the one who’ll show her love. When the truth comes out - Elin was only doing it for a bet - Agnes is humiliated. Elin's conscience soon gets the better of her and after apologising to Agnes she discovers the two share dreams of escaping their insular world and lofty ambitions that would never been achieved or understood in Åmål.

The film is billed as a teenage lesbian love story, but it more accurately portrays the problems faced by anyone deemed "different" in a small town - especially in the conformist world of teenagers. At any school there will always be an "in crowd" and another group who are ostracised for no reason apart from the fact that they are different. While the John Hughes' style of teen movies usually depicted the misfits ultimately conforming to the norm, it's refreshing to see two characters grappling with the difficulties of being different and ultimately revealing their true selves to the world.

Lukas Moodysson's debut film captures a side of teenage life that is often sanitised in mainstream American movies. While it is common for actors in American teen movies to be well into their twenties with gleaming white teeth, a smooth complexion and svelte figures, Moodysson's cast looked like average teenagers. This is largely due to his use of young novice actors in the film resulting in a more believable story. Moodysson also managed to capture the behaviour of teenagers in a realistic light - at times awkward, moody and selfish.

With the film’s realistic approach, it’s surprising that it ends on such a positive note – an uplifting soundtrack and Elin declaring to the school that she and Agnes are off to have sex. While this reflects the characters' confidence and solidarity, it also shows their extreme naivety. Perhaps this was intentional, but the viewer can’t help but wonder what would really happen next. Agnes's parents would have probably been supportive, but classmates would have tormented the girls and it’s unlikely that the weaker Elin would have reverted to type and end up like everyone else - making do with the local boy who fancies but doesn't understand her, abandoning her dreams of being a psychologist and having only the lottery to look forward to.

Show me love? Just show me a way out of Åmål, thank you.