The Christ Slayer (2019)

The Christ Slayer (dir:Nathaniel Nose, 2019) is the third and final instalment of The Quest Trilogy a series of films, written, produced and often starring actor DJ Perry. As with the other films in the trilogy it's a well-filmed, thoughtfully-crafted film that's not afraid to explore key moments in the gospels from a quirky angle. 40 Nights (2016) examined Jesus' time in the desert and features a more nuanced exploration of Jesus' temptations there than is typical. The following year Chasing the Star (2017) went back to the time of Jesus' birth and found the magi similarly in similarly introspective mood. As with 40 Nights the time journeying in the desert leads to discussions with the devil and reflections on their past, and therefore future lives.

It's to be expected, then that The Christ Slayer treads a similar path. The action, such as it is, has shot forward to Jesus' crucifixion. At the foot of the cross we find Longinus (Carl Weyant), a blind Roman centurion who is tasked with piercing Jesus' side. One of the things I have enjoyed about the trilogy is that Perry is not afraid to tweak the details in the gospels just a little in order to get closer to the heart of the issues he is exploring. Earlier this week Alex von Tunzelmann wrote a piece for The Guardian arguing that if films can encourage audiences to think more critically about the source material, then that is arguably more important than unswerving historical accuracy. Quest's deep dives do just that. I don't think Perry would claim his versions of what happened to Jesus, or to the Magi in the desert were what actually happened, but they raise bigger issues about faith and humanity. And so it is with The Christ Slayer. Here Longinus believes himself to be the man who killed the Christ and for a while it looks like the guilt will drive him insane. Much of the early part of the film feels like horror, with Longinus's various nightmares taking centre stage for a while.

But if that sounds like a 21st century reworking of The Robe (1953) the the film soon plots a different course. Longinus decides to return home to end his life. He sets off accompanied by his servant and friend Albus (Josh "Ponceman" Perry). Along the way the two encounter Jesus and gradually Longinus re-evaluates his plans for what remains of his life.

Josh Perry's casting is particularly notable given he has Down Syndrome. The role feels like it could have gone to any actor; there's nothing about it that indicates that the character has the syndrome or anything like it. At the same time though, because the story setting in a world before such a label had been created, it's perfectly plausible that someone with a similar condition could have been a servant for a man who was himself vision-impaired. I love that the film makes nothing of it. It neither feels like it's trying to make a point and yet it does. Perry does good work here with no special pleading and its to his credit and that of the other filmmakers for making it happen.

As with the other entries in the series the film perambulates along its journey. The destination is not really the destination, and rather than summoning up false peril to create a sense of urgency, the film is content to let the protagonists inner journey to take the wheel. Nose, like Jessie Low and Brett Miller before him provide some nice images of the landscape for such inner exploration to take place. For a series made with three different directors the three films still feel like they belong together.

It will be no great spoiler to reveal that Longinus eventually makes his piece with Jesus. Not only is it the typical place such films end up, but he is also now venerated in many church traditions as a saint. What is interesting is that just as 40 Nights was content with the idea that Jesus was not fully knowledgeable before his ministry, he also still had some things to learn after it. Some will find this point objectionable, offensive even, but I find it fascinating. After all, even having lived for thirty years amongst humanity, would anything prepare you for the trauma of crucifixion? The forty days of Jesus' ministry after his resurrected is often seen as about those he was to leave behind, but the stories from this period consist mainly of the things that happened in that first week. Why did Jesus stay around so long? Perhaps this is just my interpretation, but perhaps it suggests that Jesus's experience of humanity still had some way to go. To understand healing and forgiveness from a new, and difficult angle.

There's much to admire here, then. From one some unconventional takes to one of the late Rance Howard's final roles (again kudos to the producers for not overly exploiting that in their publicity). The film is not without its weaknesses - I'm not entirely convinced by some of the acting and the odd line doesn't quite land - but overall, its a fitting end to the trilogy. This is particularly true considering the series has had such a limited budget, and it's certainly a film that from which a lot of those making films for Christian audiences could learn a great deal.

Chasing the Star (2017)

Having had only the most limited theatrical release back in April, Brett Miller's Chasing the Star comes out on DVD next month, several weeks ahead of Sony's CGI animation The Star hitting cinemas in November. Miller's film is the second in the Quest Trilogy, a series of three films produced by Collective Development and written by DJ Perry. But whereas Perry also starred in the trilogy's opening entry, 40 Nights, here Perry takes a back seat, leaving Garry Nation, Randy Spence and Bello Pizzimenti to take the roles of the magi, and Ralph Lister to play a ripely paranoid Herod. Also starring are Taymour Ghazi and Rance Howard who share the role of Satan.

Keen eyed observers will have noticed the absence from the above cast list of the names of actors playing Mary and Joseph: The film's most daring move is to skip over the birth of Jesus entirely and just to focus on the stories of the three magi. Such a move does two things. Firstly it steers the film away from the schmaltzy and sentimental moment that so typifies films about the birth of Jesus. This suits Perry and Miller's agenda down to the ground. Just as 40 Nights presented a tougher, earthier Christ, this film aims for a similar aesthetic. A story about the three kings, visiting Herod's palace could present an opportunity for kitsch and bling on an epic scale. Here however, the film roots the Magi more thoroughly in Zoroastrianism than any previous film and it strips down potential gaudy elements to the extent that even Herod doesn't even wear a crown. Like 40 Nights the film is more about psychology than pageantry.

The second thing such a move achieves is shine a spotlight on a new area. Shorn of the traditional story's natural climax, the film culminates in the magi's final encounter with Gabriel. On a plot level this enables them to escape Herod's traps, but more fundamentally it brings closure to the magi's own stories and a redemption that is not based so much on pilgrimage as coming to terms with the past. There are two other notable films about the Magi, Ermanno Olmi's Cammina, Cammina (Keep on Walking, 1982) and Albert Serra's El cant dels ocells (Birdsong, 2010), but whereas those films were primarily concerned with the journey, Chasing the Star is more about the characters making it. There's an emphasis on dialogue, with a multitude of scenes where the characters just talk to one another. It's a film almost about what happens in-between the gaps in the narrative, than about the story itself.

This is underscored by the film's irregular timeline. Whilst its primary narrative about the magi's journey to see Jesus moves forward chronologically, it is peppered with flashbacks to the magi's previous lives. All three men have significant issues with their past. Melchior, the eldest, was orphaned at a young age. His younger colleagues had very different experiences with their fathers. Gaspar's father pushed him into the priesthood ("I am my father's Isaac, but with no ram to replace me") with no thought for the feelings of love. Balthazar's wanted to keep him close rather than let his son fulfil his priestly ambitions.

Given many of writer and co-producer Perry's previous work, it might be tempting to discount the film as just a Christian movie. But that would be a mistake as Chasing the Star avoids the major pitfalls of the typical Christian movie. Instead, as with 40 Nights, there's real filmmaking craftsmanship on display. Miller came into directing having previously been a cinematographer and it really shows in the quality of the image, composition, lighting, filters and overall look of the film. Dennis Therrian's score enhances the film's mysterious feel.

No less importantly, it avoids the trap of forcing it's "message". In fact it's not even clear that it has 'a message'. It's certainly not a sermon wrapped in an all too thin and transparent veil. The filmmakers don't seem to be pushing an agenda.

Instead the film is happy to introduce us to its characters and help us get to know them better. It's a story most know from a very young age, but few consider the real people behind it and the choices they made, and the lives they left behind, to try to reach something beyond themselves.

Chasing the Star Getting a September DVD Release

Back in June I compiled what I thought was a comprehensive list of films based on the Nativity. Within days I'd come across two further movies to add to the list which I have now updated.

The first was 2010's Io sono con te (literally "I am with you", but released in English speaking countries as Let it Be), which I reviewed earlier in the month.

The other was Chasing the Star, slated for release in September this year. It's the second in a trilogy of New Testament films written by DJ Perry, the first being last year's 40 Nights. The release date seems a little early for a film based on the events of the first Christmas, but I guess there are two issues which may have nudged things in that direction.

Firstly, there is the fact that Sony have already announced their plans for the release of a major animated Nativity film called The Star featuring the voices of Oprah Winfrey, Christopher Plummer, Ving Rhame, Kris Kristofferson and Tracy Morgan amongst others. That's due for release in November, so I imagine there producers have thought both that it's best to get their film out there first.

Secondly, it's possible that the filmmakers are hoping that from a small initial release they will be able to build an audience based on word of mouth, If that strategy is going to come to pass then they will need it to have a few weeks/months build up so that it peaks during advent. Plus the publicity surrounding The Star is likely to boost discussion of films about the Nativity, which might also give a boost to their sales.

I've posted the trailer above and it features prominently on the film's web site. There's a little bit about the film, it's brief theatrical release in three cities in Michigan here and the film's IMDb page is here.

The trailer is not the least like you might expect. There are no tinklings of Christmas carols, indeed the music is not at all seasonal or cosy. No dissimilarly the trailer studious avoids the typical Nativity scene shots. There are no men on camels, virgins in blue robes or dazzling stars. Indeed there isn't even a shot of three magi together. Then, there's the dialogue which is kind of angsty. All of which, I think, is encouraging, suggesting that this will be a more interesting project that the typical faith-based Mary and Joseph movie.

Hopefully I will get to review this one before the release of the DVD.

Interview with 40 Nights's DJ Perry

I reviewed 40 Nights, the first entry in DJ Perry's The Quest Trilogy, last month and Perry was kind enough to do me an interview to share with you all. Whilst he's clearly motivated by his faith it's good to read a Christian filmmaker discuss his work without feeling he's using God as the key element in a sales pitch.

BFB: When did you first start dreaming about this project and how did it start to come together?
The Dream:
I've always had a natural relationship with God from a very young age. There are so many amazing, breathtaking things in our vast known universe that the idea of God is an easy fit for most to understand. But Jesus? For me I've always been fascinated by Jesus, also realizing that everything we know has been subject to the flaws of memory, translation and additions and deletions meant to serve the human agenda. As a child of five, I recall looking deep into people's eyes who said they KNEW Jesus and I realized that for many, they were just words. It would be like, I KNOW GEORGE WASHINGTON, but they don't. They might know some words he spoke and actions he took but do they KNOW him? Now add a few thousand years or so and Jesus becomes more myth than man. Could a story about the humble beginnings of this man change that? Could people feel like they KNOW Jesus? I've always said, if Jesus came back the medium of film for storytelling (entertain and educate) might be something he would use to spread his message.

The Process:
I had played Benjamin in "The Book of Ruth, Journey of Faith" and many remarked on my look, it was reminding people of Jesus. I was also chosen from a 27 country search to play Jesus in a major studio release that put the entire Jesus story in the modern day. I had agreements in place and things looked good for the epic but it went south and was put into turn around. (Studio kill) My studies into the man kept bringing me back to the 40 nights in the wilderness. It was before all the grand stories we all know. I felt the conflict and weight that he must have felt, that sacrifice would bring. The inspiration to actually put the story to the page just came to me. I like to use the story of Noah as an example. If God came and told Noah to build a boat you don't question, you just do. So we built our "40 Nights" boat and just hope it floats. It lacks the mega P&A money for a wide theatrical release but it does play wonderful on the BIG SCREEN. Lightworx Distribution/Randy Maricle was the last piece of the puzzle that made it all come together. They are handling distribution our QUEST TRILOGY.

BFB: What was the budget for the project and how did you go about getting it together?
This film and actually all three in the trilogy are made for a modest amount of money. I felt these films NEEDED to be made and not sit in development hell for a decade. I've done much larger films but everyone cast and crew worked for a modest wage. For actors it was scale across the board and people came on board because of the love of the story. Let's just say that everyone who knows the budget is amazed at the end product. We also pride ourselves at staying on schedule and on budget which we continue to do. All the money came from private investors and we often have to turn investors away. I don't want to have more money just to have more money. But all our budgets are coming from private investors who really feel the power in our scripts/stories.

BFB: I like that there's a bit more steel about this Jesus. Satan says at one point "I like this anger in you Jesus it shows that you are human". How much of this is because essentially what we're seeing is spiritual/internal or will this continue into the other films? Have you had much reaction to that?
I've had so many people while filming and after viewing our movie shake my hand and tell me how much they appreciate the strong take on Jesus. He has been painted as this character floating through - a victim of circumstance. This is a man who worked with his hands and walked great distances. His intensity was showcased in the temple when he was flipping tables. He is weakened by choice to know what human weakness is. Our film does show Jesus in a stronger light versus many other films. The reaction to the choice has been extremely positive.

BFB: With you being producer, writer and star I'm really interested in how your working relationship with Jessie Low functioned?
My relationship with all directors is one of respect. They respect the business of what we are doing and I try to provide as much creative freedom within those lines. I was more hands on in this trilogy since they are all part of a greater vision. The camera work and music are two things that remain true throughout the three films. The directors will all likely be different. Jesse Low directed "40 Nights" and Bret Miller directed "Chasing the Star" and "The Christ Slayer" is TBD.

BFB: (Was he (Jesse) someone you brought in once the wheels were in motion, or was he there from the earliest stage, did it have to be him, or was he a choice from a few options.
I interviewed many directors to find the one who shared my approach for the trilogy. The wheels were in motion first as a Collective Development Inc. development project but once Jesse was brought in we spent weeks going over every scene, line and moment. Once we worked through that process he was given a lot of freedom.

BFB: Where did the lines lie with artistic vision etc? Were there any choices he wanted to make and you weren't sure but deferred to him?
If the choice did not affect the "business" I tried to defer to him. The producers and our director (Jesse) as a team worked through casting, crew, locations and such. Once I've signed off on the script I like to direct all creative questions towards the director. I also try to protect the subjective and creative "lines" making the choices of our director Larry weight once he is in motion. A few words and phrases, scenes changed and Jesse's visual stylistic choices are all over the film. Jesse Aragon our director of photography also worked great with our overall vision.

BFB: The experience of going without food and water felt very much more real in your film than the other Jesus films. Is this something that you and the team have much experience of (method-acting? or as part of your faith?)
I am very method in my approach to acting. That said, I did not truly fast while filming but being in the Yuma desert gives you that real stimulus. I did find myself NOT drinking as often on set to create that thirst in your eyes. I really did travel that harsh place in robe and sandals bleeding daily to get our scenes. This is a good place to bring up one funny question. People have said, I thought Jesus's robe would be longer. I'm sure Jesus has short, medium and long robes and a heavy goat coat for when it was cold. When you ACTUALLY walk through the desert your robe hikes up and anything past the knees will trip you up. You would be tearing the robe off at a certain point to allow free travel. I think that is the result of too many Jesus actors walking around on sets versus in the actual harsh desert. So functional is the word when it comes to robes in the wilderness.

BFB: 40 days is the first of three films, so what made you decide to do it that way?
I wanted to participate in some long format story telling with is why Netflix, Amazon, Hulu opening studios is exciting because I think TV series might be in our future. I was also greatly inspired by the Star Wars original trilogy. I love the look and the dramatic impact of the characters. That can be seen in our films. So if you want to see biblical stories told with a Star Wars twist take a watch. You can see the influence in there I'm sure.

BFB: Which parts of the story are you going to cover in the next two films?
The next film now in editing is "Chasing the Star" and is about the quest of the magi seeking the newborn Jesus. All three films share topics of sacrifice and the personal quest within them. The last installment entitled "The Christ Slayer," is a beautiful story that combines two events from the bible into a deep and moving conclusion to our trilogy. We're talking with directors and a few actors - many who are seeking us out upon hearing what we're doing.

BFB: The film everyone will want to compare this with is Ewan McGregor's "Last Days in the Desert". Have you seen it? If so what did you think/If not do you plan to? (I haven't yet). Do you think it helps your film or might reduce your audience? Did Ewan call up for tips?
I have heard about but I've not seen Ewan McGregor's film. I will likely watch it on Netflix or such when it comes to TV. I think it can only help and I believe the films to be different. As I understand it - their story fictionalizes a side story as Jesus is leaving the desert. I would love to have a beer with Ewan and talk about our shared experiences playing Jesus. Call me Ewan:)

BFB: Anything else to add?
I'm proud of the people who worked so hard on this film and hope it will be around for many years. I hope people take away a better understanding of the man and are inspired to be better people overall. I think the film has something for everyone and it doesn't require you to be a Christian to get the message. It challenges us to be better. I will accept that challenge.

40 Nights (2016)

At a basic level filmmaking is all about choices. Where to position the camera, how to deliver a particular line, how to arrange the characters in the shot and so on. With Bible films these choices become all the more significant - you're adapting a text that has been interpreted so many times before, sometimes with the same choices being repeated so often that they almost stop being choices. They've become ingrained to such an extent that many people just see them as the way things were. So for me the most interesting Bible films are the ones that make brave and informed choices; that are deliberate about how they are doing things and the way they want to do them.

It's clear right from the start of 40 Nights (2016) that the filmmakers were not afraid to make interesting choices. The opening shot is from a low angle and nicely filtered. And it's in proper widescreen rather than the made for DVD 16:9 that is typical of so many Christian-sponsored Bible movies. Then there's the nature of the project. Rather than adding another sprawling, objective-feeling epic, this one is more personal and psychological. It's restricted to Jesus' 40 days fasting in the desert and it's never quite clear how much of what we see is real and how much is just in Jesus' head. There are flashbacks, of course, to some of Jesus' earlier experiences, but even these are subject to the human weaknesses of his memory and in several cases to his memories of his parents' memories as well.

Indeed perhaps the only scene to be presented subjectively is its opening one - a prologue of sorts with John baptising Yeshua (as he's called at least once) in the River Jordan - but the Holy Spirit descends as a dove only figuratively, not literally and whilst Jesus is affirmed in his sonship, we don't hear the words that he does. The kind of interesting choice that some people will take umbrage with, but is utterly in keeping with Mark's gospel.

The script also inserts a couple of nice scenes in here before Jesus heads into the desert. There are some initial interactions with James and John a night-time vision of the devil and talk about practicalities such as provisions, all of which establish Jesus as a human person. These opening scenes are vital as they ground the character in reality and make him someone the audience can relate to and identify with. From here on his experience is outside of our normal experiences and determined largely by what is going on inside his head. The prologue is slight, but it's a significant bridge into all that is to come.

No less significant are the flashbacks that repeatedly break-up the desert time. We see the Jesus' birth, experiences as a boy Jesus, leaving his parents (who he calls "Abba and Eema" - a nice touch) and the death of his father. These are jumbled up, rather as our own memories come out in no particular order and fleeting, more driven by what Jesus is experiencing in the desert than shipped in as an orderly presentation of his early life.

There are other deft links to the other parts of the gospels as well. Early on Jesus recites the Lord's Prayer and elsewhere he mutters lines from the Psalms, or from his future teaching "The Father desires mercy not sacrifice". There's quite a strong nod towards John's Gospel here, particularly the passages that talk of food and water (John 6 & John 4). It's as if Jesus is practising what he will say, still working it out. As if the message he has is growing inside him yet but it's not fully formed. Twice we hear "I am the way to truth" which sounds like John 14:6, but isn't quite. Perhaps this is just a translation I'm not familiar with, or a paraphrase to keep the audience thinking, but it feels like Jesus hasn't quite fully pinned it down yet. His later work is still being formed and we're privileged to see part of the process. As the film draws to a close he stops to talk to a shepherd boy, who happens to be descended from one of the shepherds that visited Jesus as a baby, and it's him that uses the phrase "the Good Shepherd" first.

This isn't to say that the film is wordy and weighed down in dialogue, in fact it's surprisingly visual and tactile. Jesse Low's camera repeatedly lingers on the physical/earthy aspects of the world to which Jesus is confined, drawing our attention to the water, light, wind and animals which inhabit this rocky world. The choice of locations is really inspired, it's not just a sand-pit on the back of a studio lot, it's a fascinating place of contradictions - a world that's barren yet beautiful; a place where one person might feel close to God whilst another felt deserted by him; where on one level the locations all feel the same and yet on another they're very much the same. It's notable that in this film Jesus isn't just fasting from food, he's fasting water and there are various little touches which quickly make what Jesus is experiencing far more real than any other Jesus film I can think of.

Credit for a lot of this must go to Low and his director of photography Jesse Aragon who find the beauty in the landscape to for Perry as producer who seems to make what I imagine was a fairly low budget stretch a long way. By avoiding a sprawling running time, star names and expensive crowds of extras and investing instead in getting the right locations and a decent technical team, the filmmakers enable 40 Nights to move a notch or two above the level that many more expensive films achieve.

Of course any film of this nature depends to a degree on the portrayals of Jesus and Satan. Jesus is played by the film's write-producer DJ Perry who has a couple of other Bible films under his belt (The Book of Ruth (2009) and Judges (2006) a loose modernisation). Perry is closer to St. John's "not yet fifty" than Luke's "about thirty", but gives a fairly solid performance in the lead role and gives Jesus the right mix of strength, vulnerability and humanity that this particular version of the story requires.

But what's more interesting is the decision to cast Satan not as one actor but as several. This isn't apparent at first. When we first encounter Satan he's a teenager, little more than a boy. This is perhaps one of the most interesting choices in the whole film. Whilst Last Temptation of Christ portrayed the devil as a young girl, this was a deliberate act to confuse and disorientate. Jesus is meant to be confused and perhaps mistake her for an angel rather than a devil.

Here though it's clear who this young man is, it's just a bit of a shock. We're used to Satan being a middle aged man, a disembodied voice in Jesus' head or a seductive young woman; but a teenager? With those more familiar appearances we're used to the accompanying means of temptation, the seductive urge to impress someone beautiful (even if she is a devil) or the mix of rationality, cynicism, power, menace and experience of the older characters. The genius of this choice, and of actor Drew Wise's performance, is it never occurred to me before to think of Satan as being annoying. Now that I've seen it, of course, it's obvious. People so often give way and do the wrong thing just because they get nagged into something, or they have just had enough of the voice telling them to do something and just want it to go away. And not only do Wise and Low conceive of the idea, they also execute it with efficiency. Never mind forty days, I only lasted about ten minutes before I realised I would have been ready to eat the bread, jump off the temple and declare myself king just to get the thing over with.

The other incarnations of the devil are less noteworthy. Satan number two is more middle aged, and probably the worst decision the team made in the film was to occasionally use some kind of effect on his voice, and briefly we get the devil presented as a younger woman too, but the final incarnation presents the devil as an old man giving the encounter a sense of progression and of a journey which is drawing to its conclusion.

The importance of what's at stake becomes more apparent here as well. Whilst Jesus' initial encounters focussed on where he had come from, his need to satiate his stomach, his moving away from his parents, in this final stage the flash backs go back further and start to mix with flash forwards. There are brief shots of Moses striking the rock and of Adam and Eve, for example, indicating that what's at stake isn't just to do with Jesus' own personal sense of godliness, but that of both his people and of all of humanity. In an extra-biblical scene we witness his mother saying to him "Your smiles have become rare, your laughter less", indeed even she appears to have "tempted" him to stick to the safe path. Unsurprisingly we see Jesus making a go of picking up Joseph's carpentry business, but wrestling with the sense that it's not his ultimate purpose. Not dissimilarly there's the occasional flash forward hinting at the crucifixion and his destiny. Jesus seems to grasp much of what his role is about, yet you get the impression he's still trying to make sense of things. Sometimes he persists because of his understanding, but at other times it's just because of his experience. "God's love is like a warm dwelling on a cold night".

It's tempting (if you'll pardon the pun) to systematically work through all the other interesting choices the film makes, like ending the film with Jesus "breaking the fourth wall", or including all the minor embellishments the film makes that really add a sense of needle into Jesus and Satan's encounter, or but to do so would be to rob the film of what makes it such rewarding viewing, the little twists and turns that make a few lines of ancient text an interesting and engaging hour and a half's viewing. I must admit that I wasn't really expecting to like this one: but now I'm not only looking forward to watching it again, but I also have high hopes for the next two entries in Perry's Quest Trilogy as well.