Shot in the immediate aftermath of Hurricane Katrina and bound by elements of fiction, this unexpected documentary short is a glimpse into faith-based sentiment and inexplicable loss. While a man searches for his kitchen appliances in the bushes, elsewhere a grinning preacher takes souvenir snapshots for his congregation, and a woman with a disability journeys to a quieter place.
Director | Brian M. Cassidy & Melanie Shatzky |
Actors | L'équipe de Tënk, L'équipe de Tënk |
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A condensed vision of the paradoxical relationship the American people have with the divine, torn between the love of life and the death drive, between compassion and intolerance, devoted to a God who "provides," but who "judges" and destroys in the same breath. Filmed in post-Katrina Louisiana, this short documentary highlights the filmmakers' usual penchant for eccentric subjects, whose candid observation reveals disturbing sociological truths and profound ideological divides, emphasized by an antithetical editing style. The film also conveys the gentle bitterness of a work where humanism collides with the harshness of reality. Thus, the allure of its vibrant characters, straight out of Errol Morris's documentaries, sits alongside the horror of the devastated landscapes, the resilience of the survivors juxtaposed with the abandonment of their preachers to homophobic dogma. The picturesque and the nightmarish intertwine, earthly prosaicism blends with religious ideals in a simple and insightful portrait of a schizophrenic America.
Olivier Thibodeau
Programmer
Montreal's Critics' Week
A condensed vision of the paradoxical relationship the American people have with the divine, torn between the love of life and the death drive, between compassion and intolerance, devoted to a God who "provides," but who "judges" and destroys in the same breath. Filmed in post-Katrina Louisiana, this short documentary highlights the filmmakers' usual penchant for eccentric subjects, whose candid observation reveals disturbing sociological truths and profound ideological divides, emphasized by an antithetical editing style. The film also conveys the gentle bitterness of a work where humanism collides with the harshness of reality. Thus, the allure of its vibrant characters, straight out of Errol Morris's documentaries, sits alongside the horror of the devastated landscapes, the resilience of the survivors juxtaposed with the abandonment of their preachers to homophobic dogma. The picturesque and the nightmarish intertwine, earthly prosaicism blends with religious ideals in a simple and insightful portrait of a schizophrenic America.
Olivier Thibodeau
Programmer
Montreal's Critics' Week
Français
English