I agree with Michele this is very strong. Well shot with great angles and the music builds superbly as the tension takes a grip. Very well acted and convincing which brings to life the darkness, and hints of humour, from the script. The priest who is clearly pre-occupied and wants the guy out (we learn why) and the killer who wants redemption then kills a priest. Wonderful conflicts. The only line wich possibly threw me was "enjoy your orange drink". I assume it is in the script and I understand why, a signpost to the orange drink which I assume is for the boy. For me, the way it was acted not sure it is a line the killer would say? I don't know - it's certainly not essential. Great job and best of luck to the team and Kerry.
A strong film, I really loved it. I was going to produce a film from the same script as well, as I saw it as a very strong topic, but unfortunately due to production reasons we didn't make it finally. Good luck with yours!
Excellent film, very dramatic.
Of the two versions of Kerry's script I think this is the better by a long way. Immensely powerful (and I'd imagine) controversial. Great piece of film-making
From the script, we know the action takes place in the rectory of a church. I'm afraid this version loses credibility with me because I can't imagine any church rectory where the priest has a massive leather headboard and brightly colored sheets and pillow cases and art prints hanging on the walls. Priests lead spartan lives, right? The script also has a feel of immediacy, urgency, Vincent NEEDS his absolution NOW, before the end of the world arrives. I get none of that from this Vincent. The actor's line delivery is slow and deliberate and, frankly, just takes too long. I feel none of the urgency that Kerry wrote into his character. There's some interesting camera work, and I do like the actor playing the priest, but overall I don't think this film does justice to Kerry's exceptional script.
I assumed that the headboard, sheet, the whole room was giving us an earlier visual indication that this priest was of the hedonistic kind rather than the spartan inclination. I assume they are private quarters, so it's not like a normal member of the congregation would see the priest's tastes. But, having read the last comment and re-watched the film, I can see how it might detract from the actual instant public image of 'priest's bedroom' and therefore detract a little from the verite.
Love the feedback we are getting, thanks! In regards to the priest's rectory, we did research into what a lot of the rectorys looked like and from what we found all are more modern looking than they used to be. We saw some with big headboards which is why we left the bed the way it was. We did have to change from these butterfly sheets my friend had since obviously, a Priest wouldn't be that extravagant. We had originally been locked to shoot in a church but due to the Parkland shootings, the church was now responsible for some of the wakes and funerals so they weren't able to accommodate us. We had to move to a location last minute and we were lucky enough to have a friend lend us their place. With that said we did our research and adjusted the room as best as we could. We saw some of them did have art prints on their walls so we went with it. When it comes to our Vincent in the film, it's the approach we decided to take when figuring out the character. We sent over the film to Kerry before submitting and I am very happy that he loved it.
Stu, We did go with the idea that the Priest tried to be a servant of God but ultimately failed. Our take was that he was someone who had done something like this in the past and tried his best to change but cracked when the world was coming to an end to fulfil his own needs. In our version, he is definitely more hedonistic.
OK. I imagined the decor and background was not accidental and you were deliberately making the priest more worldly.
Wow, fantastic. Really well done, on every level. I get the debate above re decor; for me it sat as a location not quite right, rather than a pointer to the priest's worldliness, but I did wonder if it was intentional. Not a big deal, anyway. I hadn't read this script during the writing stgae of the competition. I was expecting a final twist, where the kid saw the body and said "Daddy!" or similar, but again, that's Ok - the suspense of not knowing whether his assumption was right or not was effective, whichever way it turned out. That music had me even watching the credits, btw - I couldn't stop!
Great work guys! Love the film. Really nice shots, feel, actors. Overall I really like it. PS: Have you seen the other version that's on the site by Vintage Film? Here is a link in case you haven't: https://www.impact50film.com/films-1/he-who-is-without-sin-vintage-films/
I thought this was a brilliant script when I first read it way back - dark, powerful, full of pain, shame and retribution - and for me this film really does it justice. The acting is superb, and the final sequence with the guy battling with himself over whether or not to pull the trigger beautifully demonstrates his internal struggle. I love that it ends before we find out which way he went.
This is excellent. The acting is some of the best I've seen. I love the shots, some very clever ones, like from underneath the character as he's knocking on the priest's door, and from inside the wardrobe too. It's full of tension as was written in Kerry's script. I feel the urgency from the priest to get rid of him and it really draws you in. I don't have a problem with the set. I love the ending, will he? Won't he? The only thing I'm unsure of is with the actor saying enjoy your orange drink father. I think it should be as subtle as it was in the script, he just clocks it, then sees the opening in the door. Well done, really love this.
Some of the shots are great and add to that unnerving tone. I can see where the others are coming from with their comments about the bedroom and the urgency of the piece ( plus I agree with mcsqueak about the orange juice line) but as these are things that can't be changed I don't think they hugely affect the feel of the film which is spot on.
Hi! Here's what's working for me: the actors are superb - the priest seems so shifty and uncomfortable and as if he's genuinely apologetic when he gets found out - there is a real person here, not just a stereotypical priest. And the killer is so intense, his remorse seems authentic and he's SO conflicted over killing the boy. I loved the choice to have him say 'three f----ng minutes instead of God-damn' such a subtle but clever decision! What didn't quite work for me was the gunshot, it sounded a little empty and failed to punctuate the dramatic climax. This is my preferred version for sure! David
WHAT I LIKED - Wardrobe is good - Score is good and fits well - I like the shot at 1:53 that pushes in closer on the priest - I really like the whole end sequence from 04:02 - this is the strongpoint of this film for me THINGS TO CONSIDER - Was this shot anamorphic? Does it meet the Impact50 technical specs? - Picture is dark in places (e.g. 0:17) and there is a lot of picture noise visible - perhaps apply a denoiser before rendering to clean it up - 0:48 not sure I fully buy that he would feel the need to point a gun at the priest at this point in time - I really think you could tighten up the beginning a lot by simply starting with him kicking open the door and then coming in with the gun. That would also make more sense… the current opening of talking through the door doesn’t quite work for me and I don’t quite buy the demeanor change with him pointing a gun at the priest after a moment of relative composure. From a pacing point of view, might be better to start with a bang and then come down from there. So I think you could basically START at 0:31 and cut out every thing before. Then move the close up shot of the priest (0:34 - 0:36) to after 0:40, so we see him entering and holding his gun up at a person (we don’t know it’s a priest yet) then you cut to the priest putting on his collar and that’s a big reveal… it’s like… why is this guy pointing a gun at a priest… that raises the stakes and creates conflict / makes the audience take notice. - I think you could pretty much cut out 1:20 - 1:41 without losing much. It’s good stuff, but the point of the piece is to get to the boy and I think it would be better to get there much more quickly - Not much you can do about it now, but the window is completely over-exposed and washed out in most of the shots - 3:06 I think he reacts too quickly… I think you need an extra beat or too for him to process and for the audience to see him putting it all together - I think the door should fully close before we hear the gunshot… we don’t want the boy to see the murder? - 03:50 the cut for me here doesn’t work… it takes us out of the moment unnecessarily so - As I mentioned above, I really like the whole ending sequence from 04:02 - this is the strongpoint of the film for me… I feel we need to get to this point a bit more quickly so we can then take our time to let this moment sink in
For the most part the cinematography was good but I didn't like the shot from the floor up from opening to 0.30 secs. The acting and script about the confession could be more reverent/religious/formal - see Irish films of this type with religious scenes in. I hated the sound effect which I think was supposed to be a clock ticking which is heard at various points through the film - it sounded like a horses hoof. Needs to be looked at - maybe look at kettle drum type sounds to imply tension perhaps? Then when the guy first talks to the priest saying he wants to confess the priest says "Whadda you wanna confess?" -far too casual - he speaks like Rich Hall! That isn't the sort of way a priest would speak. Sorry but I didn't think it was anything outstanding.
I prefer this version out of the two that have been made, it somehow feels more grittier.
Good acting, especially from the confessor - he manages to show the pain he's going through and his inner turmoil. I think tighter editing at the beginning when he's hammering on the door, although the angles are really interesting, would add to this film.
Fab! Good to see some unusual angles used. There are still a few loose frames in here I think, but not many.