When a group of strangers at a dusty roadside diner come under attack by demonic forces, their only chance for survival lies with an archangel named Michael, who informs a pregnant waitress that her unborn child is humanity's last hope.
Charles S. Dutton
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Brotherhood of Blood is a good example of counter-cinematic art.
Counter-cinema in its simplest definition is cinema that through its own cinematic practices, questions and subverts existing cinematic codes and conventions. Counter-cinema usually lies in independent film-making and often attempts to combine genres of film that would, on the surface seem to not go together. In "Brotherhood of Blood" the directors cleverly combines the 'vampire' genre and the 'mystery thrillers' sub-genre in an art-house context. Both genres are embodied by a certain mysticism. The curious thing about "Brotherhood of Blood" is that this film is the most realistic and human vampire film that I have seen. I suspect that this is because the film focuses on both worlds; that of the hunters and that of the vampires. Both worlds seem to offer something that the other wants, though humanity (not being human) seems to be the ultimate goal. What follows in the film are continual contrasts between both worlds, the one whose people live at night, and the other whose people live during the day. But there are strong parallels drawn between both groups. We see that they have more in common than they would admit. We must remember that each one of these vampires was at one point a human being. The film seems to be implying that even in the most extreme of transitions (from human to vampire), one cannot completely leave behind the rites that you previously cherished so deeply.
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