TV Guide Magazine by Ken Fox

The film's opening dedication to Pasolini acknowledges Arslan's debt to Neorealism, but the gritty, documentary style is offset by a charming bit of chalkboard animation that helps lighten the mood considerably.

Salon by Andrew O'Hehir

Fratricide marks Arslan as one of Europe's hottest young talents, drawing simultaneously on the film traditions of America, Western Europe and the Middle East.

The Hollywood Reporter by Ray Bennett

Fierce and tragic tale of lost hope.

New York Post

Nonprofessional actors and convincingly dingy details give Fratricide a harsh documentary quality, and its "Midnight Cowboy"-style ending is bitterly powerful. Devotees of seamy '70s cinema should give this little film a look.

The A.V. Club by Scott Tobias

Shot with such grit that the lenses seem coated with grease, Fratricide offers a myopic impression of an unnamed German city, and that's probably the point, since so much of its territory and opportunities are sealed off from these immigrant characters.

Variety

A hard-hitting, ultimately tragic tale of the struggle for identity among Kurdish emigres in urban Germany.

Village Voice

A well-wrought, beautifully lensed but ultimately hopeless tale, Fratricide provides a less than optimistic allegory for the intractability of human conflicts: Even far away and decades later, old wars bring fresh miseries.

New York Daily News by Elizabeth Weitzman

While the boys' fates do seem a little too predestined, that may well be Arslan's intention. When you're idling in no man's land, it's all too easy to get uprooted.

The New York Times by Manohla Dargis

Every so often, Mr. Arslan cuts to Kurdistan, where a group of women wander the barren landscape, a Greek chorus gone astray in a film gone amiss.