State of Fear: A Thrilling Action Film
State of Fear is an action-packed movie currently on Netflix that could easily captivate viewers all year. It serves as a spin-off and sequel to the series Brotherhood, directed by Pedro Morelli, which originally premiered in 2019 and wrapped up its second season in 2022. The film sees Naruna Costa, played by Cristina Ferreira, returning as a determined lawyer entangled in a web of corruption involving both the police and the Brotherhood, a notorious criminal syndicate headed by her brother Edson, portrayed by Seu Jorge through flashbacks. The movie ties together character arcs while introducing new storylines. Still, the focus remains on Morelli’s stunningly intense action scenes.
Key points: Is it fair to sympathize with the São Paulo police when the Brotherhood unexpectedly initiates an all-out assault on them, flooding the area with explosives and gunfire? Brotherhood depicted the police as corrupt, yet the aggressors exhibit equally brutal tendencies. It’s a complicated question. During the sudden attack, I found myself at a baby shower for a police officer’s wife. Explosions rattled the atmosphere, windows shattered, flames erupted, and chaos reigned—set against this backdrop, the wife went into labor. Amidst the turmoil, they scrambled into police vehicles that were the same ones being targeted by armed Brotherhood members on bikes. The tension escalated as, despite her pain, she brandished a gun to ward off pursuers. Finally, they reach a haven where she endures a harrowing and bloody delivery, and after a seemingly endless ten minutes, the shot concludes with an edit and a title card.
Fast forward ten years since Edson’s demise, and a more extensive narrative unfolds. The Brotherhood ignited a civil unrest that triggered countless simultaneous prison riots. Two days later, Cristina gears up to choose her side. She’s currently serving as a “counselor” for an unapologetic criminal organization, framing dubious acts as a form of “justice.” Navigating moral dilemmas becomes her daily routine. She even partakes in a conjugal visit with Ivan, the Brotherhood’s current leader. Back at her upscale mansion, Cristina is raising her rebellious teenage niece, Elisa, the orphaned daughter of Edson. Elisa, in her own way, stands firmly against the pervasive violence of their world, which leads to daily headbutts between her and Cristina.
In a tense encounter, Elisa and her boyfriend zip through the city on a motorcycle, only to be halted by two corrupt cops who extort bribes from them. Believing her family name would provide protection, Elisa is instead kidnapped, thrusting Cristina into a panic. In desperation, she turns to the Brotherhood for assistance, but as the imprisoned leaders are shuffled to a secure location, the Brotherhood responds by arming themselves and executing a riot—launching a full-scale attack on the police. Just as Cristina is about to pay the ransom, utter chaos ensues, and Borges drives away with Elisa, leaving her scrambling to corner him amidst the lockdown and growing violence.
What does it remind you of? I can’t help but connect it to Fernando Meirelles’ films like City of God. Morelli’s previous work with him adds a layer of familiarity, blending with the high-octane action of Athena by Romain Gavras.
Featured performance: Although brief and presented mainly through flashbacks, Seu Jorge delivers a nuanced performance that’s both touching and layered during interactions with young Elisa.
Sex and skin: None to report.
Our perspective: State of Fear holds nothing back. Morelli and co-writer Julia Ferrer explore themes that echo classical Greek tragedy, offering a narrative rife with symbolism and a gut-wrenching conclusion. The storyline underscores the violent nature of both life and death, crafting a rich yet complex exploration where characters sometimes feel like symbols rather than fully realized individuals as they navigate a moral landscape shrouded in ambiguity.
Morelli skillfully critiques extreme violence, depicting it without glorification. Characters like Elisa embody idealistic stands against violence, placing them in intense and coercive situations. This contrasts sharply with Borges’ background, complicating the narrative around a morally problematic cop. This world lacks clear-cut morals.
However, while thematic depth exists, the film’s primary draw remains its gripping action. Morelli intertwines moral urgency within high-octane sequences, showcasing beautifully choreographed long takes during significant scenes, like the police station raid and nighttime foot chases. The tension is palpable, enhanced through meticulous sound design and thoughtful camerawork.
State of Fear adeptly intertwines broader societal issues with intimate character experiences, though it sometimes feels as if it could benefit from expanding its macro context—almost as if it started as an expansion for Brotherhood before evolving into a standalone piece. Yet, as a mere spin-off, it achieves a surprising thematic richness, delivering emotional impact and breathtaking visuals.
Our recommendation: State of Fear proves that action films are often underrated. It’s a must-watch!
