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Amos Lassen wrote on 12/16/2011:

If there was a seminal period in African-American history it was the Harlem Renaissance. Its repercussions are still being felt in the area of civil rights. This was the first time that gay men and women of color created and published in their own voices so that the world would know that they were here. The period brought us Langston Hughes, Zora Neale Huston, Wallace Thurman and Bruce Nugent who is one of the characters in this film.

The film brings together the struggles of gay equality in the African-American community with those that were involved in the Harlem Renaissance. It deals with the issues openly and honestly and is therefore somewhat controversial. With the end of the movie there is really no closure as we are to see and to feel that the black gay experience is complex, ever changing and constantly evolving. The film shows us regular people living regular lives and deciding which paths they should take. Therefore there can be no happy ending.

The film is director Randy Evans’ first narrative movie. It ambitiously looks at artistic and personal integrity in a time that spans both past and present. The film focuses on a young New York artist whose becomes friendly with one of the main figures of the Harlem Renaissance and this causes him to examine himself and his values. We see black politics and sexuality in depth.

Perry (Anthony Mackie) is a lonely painter who has been rejected by his parents because he is gay. He is at odds with fellow college students who will not accept James Baldwin as a figure to be respected—they feel that Baldwin’s homosexuality deters from his politics for the advancement of the black men. This anti-gay hostility serves to awaken a historical curiosity in Perry. Perry wrestles with both homophobia and racism but he has a chance encounter with Nugent (Roger Robinson) who has been reduced to staying at a homeless shelter where Perry works. As the two men develop a friendship, Nugent shares his memories of Harlem. This links the past to the present. The acting of these two men is fine and they give us sympathetic and sensitive characters.

There is a great deal to see and learn here and watching this film allows us to look at the African-American gay experience with different eyes and a great deal more understanding.

Dan Collier wrote on 12/25/2010:

This is an extraordinary film. While it certainly deals with the gay black arena, to slot it as such will limit its appeal. It deserves to be seen by (so-called) mainstream society. In its treatment of the complexity of being gay and black, Brother To Brother arrives at truths applicable across the human spectrum.

Beautifully written and directed, it stars Anthony Mackie in a breakout performance. Those who are only aware of Mackie from The Hurt Locker and Broadway's A Behanding In Spokane and the current Night Catches Us opposite Kerry Washington, can catch him here giving a bold, sensitive performance. Mackie is a terrific actor.

A shame this was nailed early on as a gay film, it deserves a wider audience. And I'm speaking as a gay man!

SophistocatedGuy wrote on 01/21/2007:

This movie is a genuine classic. I have seen various independent film genres, but I've never seen a film that was so intelligently, respectfully, and beautifully executed like this one. It was in so many ways was relatable to every viewer. I would love to see more indie films that illustrate the positive portrayl of African Americans.

David (davidals@msn.com) wrote on 01/27/2006:

Thanks to the director - this is quite a debut, ambitious and beautifully constructed. It's been a long, long wait to see a gay feature dig into the African-American side of gay history and illuminate some vital cultural contributions; and very refreshing to see the long-overdue creation of African-American images that veer away from tired stereotypes while remaining grounded in history and reality. More of this, please.