The latest foreign horror film on Netflix is “Brick,” created by writer and director Philip Koch. Tim (Matthias Schweighöfer) and his girlfriend, Olivia (Ruby O. Fee), are now dealing with a recent tragedy, having seen better days. Oliva is ready to leave Tim and start somewhere fresh, but he convinces her to stay one more night.
However, before they reconcile, a metallic wall has mysteriously appeared overnight, entirely encasing their flat. When they discover that the entire block is closed in as well, the paranoia thickens. Enter three other trapped tenants. There’s a holidaying couple, Gael (Frederick Lau) and Ana (Salber Lee Williams), who must either confront the cracks in their relationship or smooth them over for the sake of solidarity. There’s also Yuri (Murathan Muslu), an isolated loner with an unknown past, who has ties to the building’s management and a habit of answering questions with more questions.
“Brick” is notable for its style, featuring a calm and clean color palette alongside minimalist staging and sterile interiors, crafted by production designer Boris Hochstedler. This polished aesthetic conveys a unique sense of discomfort. Screenwriter and director Philip Koch explores a “what if” scenario related to privacy and personal freedoms, referencing events of 2020. Yet, the film fails to develop its themes fully and evolves into repetitive complaints about unsatisfactory discoveries.
Most of the cast delivers commendable performances, with Schweighöfer and Fee requiring strong support to navigate their intense emotional arcs, although their on-screen chemistry ultimately falls short of expectations. The real highlights come from Gael and Ana, whose portrayals resonate with authenticity. Each of the main characters possesses enough backstory to capture the audience’s attention for brief moments, yet they ultimately lack the depth needed to leave a lasting impression.
Unfortunately, “Brick” struggles to weave a narrative that goes anywhere meaningful. The film gives the impression of being constructed in real-time, beginning with an intriguing sense of claustrophobia and confinement that is skillfully conveyed. However, this promise quickly fades as the story devolves into a series of arguments and a mystery that lacks the intrigue to generate genuine tension.
International viewers should also know that Brick is originally a German-language film. While the dubbing is serviceable, it may be distracting for purists or those sensitive to mismatched lip-syncs and stilted vocal performances.
If “Brick” finds success, an American remake is likely in development. For now, “Brick” remains a watchable, if ultimately forgettable, experiment in enclosed thrills.
Final Grade: C
“Brick” is available to stream tomorrow on Netflix.
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