Ethan Berger’s debut film The Line shines a light on fraternity culture from the inside. We follow sophomore Tom Baxter through his second year as a member of the fictional Kappa Nu Alpha brotherhood. All seems well until the arrival of a new pledge named Gettys, whose cocky attitude threatens to upset the delicate status quo.
As a writer-director who extensively researched the Greek system, Berger aims to offer an authentic perspective on both the compelling bonds of brotherhood as well as some of the more troubling behaviors that can fester within these walls. Through a tightly crafted script and strong performances, he examines how this environment fosters toxic masculinity, class divisions, and the empty promises of prestige that pressure young men to conform.
The intensity builds from the frat house basement up, pulling viewers deep into this secretive world. We watch characters wrestle with loyalty against conscience as personal allegiances shift like a game of musical chairs. Meanwhile, Tom, our guiding protagonist, doubts if upholding tradition is worth the cost.
By grounding fictional events in recognizable humanity, Berger poses challenging questions without resorting to accusations. How effectively does he balance compelling drama with thoughtful commentary on collegiate rites that sometimes turn deadly? His unflinching film may stir discomfort, yet also fascination for its unvarnished peek behind closed Greek doors.
Brothers in the Bond
The Line fully immerses us in the particular world of Kappa Nu Alpha. Their fraternity house exudes an eerie atmosphere, with shadowy halls and a basement that seems to swallow all light. It’s down there among the dusty kegs and faded banners where the brothers primarily congregate.
We meet our protagonist, Tom Baxter, played with nuanced care by Alex Wolff. Growing up in Florida, Tom holds ambitions of making something from himself beyond his working-class roots. He believes KNA offers the best path to connections that could lead to career success.
As a sophomore member, Tom’s close friend is fellow brother Mitch, brought to life with charm and complexity by Bo Mitchell. However, Mitch’s antagonism towards a new pledge named Gettys, expertly portrayed by Austin Abrams, will drive much of the conflict.
Lewis Pullman imbues the role of chapter president Todd with an air of confidence. While taking Tom under his wing, cracks soon emerge in Todd’s façade of leadership. John Malkovich, meanwhile, makes an impression in his brief scenes as Mitch’s wealthy father, representing the power of fraternity legacy.
Halle Bailey also stars as Tom’s love interest Annabelle, providing an outsider’s view that challenges some brothers’ attitudes. As tensions escalate between the other members, Tom finds himself torn between loyalty to his fraternity bonds and an unexpected desire for change.
The ensemble brings this insular world to life in unsettling yet compelling detail, keeping us invested in the troubling dynamics that will test these young men in dangerous ways.
Brothers in Conflict
The Line delves deeper than most to examine the themes simmering beneath any fraternity’s surface. Toxic masculinity runs rampant in Kappa Nu Alpha, where homosexual jokes and dismissive comments about women are the norm. Members feel pressured to constantly prove themselves through aggressive behaviors.
Divisions also emerge along economic lines. While Tom strives to make his way through hard work and charm alone, scions like Mitch take their legacy membership for granted. Over time, disillusionment spreads as the brothers realize their fraternity may not bring the promised career boosts.
Meanwhile, an intense culture of conformity develops where loyalty to tradition outweighs moral concern. Blindly following orders becomes safer than rocking the boat, even if it means ignoring poor treatment of others.
As new pledges arrive each semester, the cycle continues anew with shifting power dynamics. Those at the bottom find fleeting ways to assert themselves over their “prey,” only compounding the abusive behaviors.
The film suggests these factors all mutually reinforce the system’s most troubling aspects. Underneath the tense charades of brotherhood lie insecurity, entitlement, angst over social status, and desperation to belong—emotions that boil over in toxic ways when left unaddressed.
By humanizing even its most unlikable characters, The Line invites understanding of why these deeper issues take root. It sees beyond surface-level sins to the societal failures that breed them, posing challenging questions about pressured conformity and the patriarchal structures young men encounter.
A Tightly-Woven Technical Achievement
Under The Line’s unsettling surface, writer-director Ethan Berger seamlessly weaves together various technical elements. He maintains a constant feeling of dread throughout the film with Stefan Weinberger’s moody cinematography.
Shadowy scenes within the fraternity house take on an almost haunted quality. Characters seem constantly engulfed by the dilapidated setting, heightening the claustrophobic atmosphere. Weinberger pairs intimate close-ups with sporadic glimpses of the space to unnerve viewers almost as much as the brothers.
Likewise, editor Ted Feldman ensures each moment carries momentum. His rapid cutting matches the frenetic pace of scenes, whether raucous fraternity rituals or intense personal disputes. Feldman lets tension simmer without allowing it to boil over, a deft approach that heightens unease.
Daniel Rossen’s gripping original score nails the paranoid undertones. Its off-kilter percussion encapsulates the chaotic mindsets of characters always performing, competing, or scheming. Melodic fragments take a twisted turn to mirror emotional curves.
The result feels seamless. Berger’s meticulous synchronization of these elements keeps viewers on edge, never allowing comfort as we’re pulled deeper into this fiction with the characters. His technical mastery enhances the suspenseful nature of powerful themes examined through a tightly woven psychological lens.
Brothers on Display
A pivotal piece of any film is the performances that bring words to life. In The Line, writer-director Ethan Berger has assembled a standout cast perfectly suited to their roles.
At the forefront is Alex Wolff’s nuanced portrayal of Tom Baxter. We feel his drive to succeed amid conflicts over loyalty and conscience. Wolff imbues Tom with layered humanity even as his naivety leads him into trouble.
Stealing many scenes is Austin Abrams’ magnificent work as the narcissistic pledge Gettys. Though unpleasant, he injects an electric thrill of predictability. Meanwhile, Bo Mitchell ensures we see the insecurity beneath brother Mitch’s abrasiveness.
Lewis Pullman lends chapter president Todd just the right mix of charm and unease. While appearing in control, cracks emerge, showing his grip slipping. Brief but chilling, John Malkovich makes an impression as the symbol of Mitch’s rigid legacy.
Halle Bailey shines in her limited role as the compassionate Annabelle. Providing Tom perspective, she shows her talent and promise on the rise.
Working in perfect ensemble, not one actor feels like a caricature. Each imbues complex internal lives into these brothers, taking us inside fraternity dynamics in a visceral way. Their humanity keeps us invested in the consequences of a culture where cruel traditions override common sense. In the end, it is the quietly compelling performances that endure longest after credits roll.
Brothers Laid Bare
Ethan Berger’s debut, The Line, takes an unflinching look at fraternity life—both its drawbacks and what keeps these traditions enduring. He manages to pull viewers deep into this world in a gripping yet unsettling way.
The ensemble cast brings an authentic grit to unlikeable yet complex characters. None feel like caricatures, and the film sympathizes without condoning poor actions. Berger handles sensitive topics subtly yet powerfully.
Where it succeeds most is in entertainment that challenges our perceptions. However, the climax ticks boxes too predictably. After such an intense build, a tidy conclusion lacks punch.
Halle Bailey’s role also feels formulaic. While welcoming diverse perspectives, her character exists more as Tom’s conscience than a full subplot. Strengthening relationships outside the frat could’ve emphasized his humanity better.
Still, The Line engrosses through its visceral yet thoughtful examination. It sparks debate less through grand proclamations and more through messy realities that feel recognizable. If not uniquely insightful, Berger’s debut insightfully entertains and leaves its unsettling mark.
While not perfect, the film’s strengths in character, atmosphere, and addressing taboo topics engagefully outweigh weaknesses. It invites examining toxic traditions deeply rooted yet difficult to uproot. For anyone seeking compelling drama or issue-based stories, The Line delivers.
Brothers Bound by Tradition
The Line grapples with challenging issues facing young men in fraternities while keeping viewers engrossed in its compelling drama. Ethan Berger invites examination of Greek life’s darker sides through layered characters and meticulous direction.
It encourages thought on the societal pressures shaping these cultures and individuals within them, from toxic masculinity to wealth disparities. Yet the film never feels preachy, sustaining focus on its tight narrative through a standout cast.
For those drawn to mature college stories tackling real-world topics or performances of stars on the rise, The Line delivers. It serves too as a cautionary message. These brothers discover traditions touted as passages to influence instead become chains binding them to self-destructive cycles.
While not without flaws, Berger’s debut stimulates discussion through an authentic, unflinching lens. Its unsettling power lingers long after, like the damage of conforming to traditions, empowering violence over empathy. For a glimpse into rigid rituals pushing children to become monsters, The Line merits attention.
The Review
The Line
The Line offers an unsettling yet compelling dive into fraternity culture's darkest undercurrents, anchored by a superb cast bringing an all-too-human pulse to turbulent dynamics. While not without missteps, writer-director Ethan Berger's feature debut succeeds most in using genre conventions to provoke thought on issues its characters cannot escape.
PROS
- Authentic portrayal of frat environments
- Nuanced character performances, especially Wolff and Abrams
- Subtly handled sensitive subject matter
- Provokes thought on societal pressures facing young men
CONS
- Predictable climactic events
- Underdeveloped love interest subplot
- Some pacing issues in the third act
- More style than unique social commentary
