After his innovative, haunting work on LET THE RIGHT ONE IN and MURDER FARM, Swedish composer Johan Soderqvist teams for the eighth time with BROTHERS and AFTER THE WEDDING filmmaker Susanne Bier for a family story that segues from the Sudan to Denmark.
The result is another deeply affecting, eerily off-kilter score from Soderqvist that uses some of the most strikingly beautiful percussion to grace a drama since Mychael Danna’s ICE STORM. Here, the spectral, bell-glass sounds of the African Array Mbira merges the feelings of a doctor treating victims of tribal violence in a Sudanese refugee camp with the problems that his son faces back in Denmark. It’s a similar set-up to the original BROTHERS’ themes of “exiled” violence coming back home to roost, an idea that Soderqvist treats with emotional delicacy, as mournful voices seamlessly blend with spectral samples, piano and strings for a slow, dramatic burn.
Call this approach emotional alt.-scoring if you will, a translucent, transcendent sound that hears how one family’s problems on both sides of the globe can come crashing together with affecting results.