Divinity comes to us like a black box communiqué from a retro-futuristic alternate history that no longer exists – if it ever existed at all. It’s got all of the staticky hallmarks of a sci-fi distress signal, but is a feature-length experimental feature courtesy of writer-director Eddie Alcazar (Perfect), who has been doling out mildly abrasive antidotes to the clean-cut sameness of contemporary science fiction over the past several years.In 2023, we, the moviegoing audience, have grown quite accustomed to the polished veneer of films that have the financial push to be foregrounded in popular culture. Though not true of all, these films often have palatably bland cinematography, and a dutifully single-minded adherence to structure. Sure, it’s great to sit back and watch something that holds your hand to a desired outcome, but these pleasures come at the cost of the part of ourselves that would once gladly hand over a couple of hours to someone who wants to take us on an aural-visual odyssey with little to guide us other than a healthy sense of curiosity.Eddie Alcazar’s latest film, Divinity, produced by Steven Soderbergh, throws tropes into the grinder and ends up with a meaty, noisy, experimental film, where images materialize from the murky black-and-white, and then fade back with aphoristic clarity – even if what’s being said doesn’t always land with heft. (After all, the script was improvised.) As for a story, there is one, but Divinity shouldn’t be approached as the type of media that we are regularly inundated with. For better or worse, this is a film to submit to and, more importantly, to experience.RELATED: 10 Great Sci-Fi Movies Everyone Forgot About
Divinity comes to us like a black box communiqué from a retro-futuristic alternate history that no longer exists – if it ever existed at all. It’s got all of the staticky hallmarks of a sci-fi distress signal, but is a feature-length experimental feature courtesy of writer-director Eddie Alcazar (Perfect), who has been doling out mildly abrasive antidotes to the clean-cut sameness of contemporary science fiction over the past several years.
In 2023, we, the moviegoing audience, have grown quite accustomed to the polished veneer of films that have the financial push to be foregrounded in popular culture. Though not true of all, these films often have palatably bland cinematography, and a dutifully single-minded adherence to structure. Sure, it’s great to sit back and watch something that holds your hand to a desired outcome, but these pleasures come at the cost of the part of ourselves that would once gladly hand over a couple of hours to someone who wants to take us on an aural-visual odyssey with little to guide us other than a healthy sense of curiosity.
Eddie Alcazar’s latest film, Divinity, produced by Steven Soderbergh, throws tropes into the grinder and ends up with a meaty, noisy, experimental film, where images materialize from the murky black-and-white, and then fade back with aphoristic clarity – even if what’s being said doesn’t always land with heft. (After all, the script was improvised.) As for a story, there is one, but Divinity shouldn’t be approached as the type of media that we are regularly inundated with. For better or worse, this is a film to submit to and, more importantly, to experience.
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