IN THE NAME OF GOD
In filmmaker Ludvig Gür’s IN THE NAME OF GOD, a young priest struggling to inspire his congregation rekindles a relationship with his long-lost mentor. Jonas’ Old Testament-style promises of a higher calling come with a caveat. The Lord grants him special healing powers only when Theodor sacrifices bad people.
The first half challenges your moral compass. Once investigative journalist Erik enters the scene, the plot shifts to an even darker realm. Theodor’s actions are now directly tied to the life of his wife. The consequences of his failure lead us to another twist.
Performances are solid across the board. Thomas Hanzon gives Jonas a self-assuredness that simultaneously comforts and terrifies. It is an effortlessly unsettling turn. Vilhelm Blomgren is journalist Erik. Blomgren represents the audience in an emotionally turbulent performance.
Our leading man, Linus Wahlgren, tackles the role of Theo with equal parts fear and passion. What begins with the best of intentions quickly turns into trapped desperation. Wahlgren delivers palpable horror.
The script offers a slick balance of religious fanaticism, cult leanings, and the supernatural. Visually, Old Testament drawings serve as subtle omens. There is no traditional gore. The investigatory angle serves a dual and undeniably clever purpose. IN THE NAME OF GOD boasts a final third that completely blindsided me. Its nail-biting, endless twists captivated me.
The final shit is so bold you will both scream at the screen and slow clap. IN THE NAME OF GOD earns high praise as an exceptional addition to Screamfest 2024.
IN THE NAME OF GOD Trailer:
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