Open full view…

He Who Is Without Sin Vintage Films - impact50film

Thu, 29 Mar 2018 11:04:53 GMT

Thu, 29 Mar 2018 11:04:53 GMT

Comment re-post by Veramark2010: A very accomplished production that manages to first allow the bit of humour there is in Vincent's confession, then turn bloody. The actor gave a very convincing portrayal of the emotional turmoil Vincent goes through. I found the priest a little too composed. The ending, with the approaching shockwave and the pulling of the gun, remains as ambiguous as the script.

Thu, 29 Mar 2018 11:05:29 GMT

Comment re-post by SYoung1960: Thank you for your feedback on our version (Vintage Films), Vera. Andrew did a great job as a first-time director, and we're all very happy with the end result. Finally adding in the original music, replacing the temp tracks, has helped immensely. We greatly appreciate the time you took to watch the film and to post your thoughts.

Wed, 04 Apr 2018 16:24:45 GMT

Really enjoyed this version of the film. The ending where the gunman aims the gun at the boy is so chilling.

Fri, 06 Apr 2018 15:44:26 GMT

I watched this film several times, trying to pinpoint why I was left unsatisfied at every viewing, and today, I got it: The priest starts really 'existing' on screen only after the killer spots the boy and the priest says I'm sorry. The look of anguish and remorse in his eyes is all any director could ask for. But up to that point, he was just a backdrop to the killer's confession - this actor did a great job, by the way, and the boy in the closet was perfect. Too bad the actor playing the priest wasn't given the chance to really be present earlier in the short.

Fri, 06 Apr 2018 20:10:26 GMT

I thought some parts of this worked brilliantly, and better than the other version (it's such a shame to have to compare, but you kind of can't help it). The exterior to begin with - cold and serenely clinical. And the spotting/emerging of the boy was superb - gave it space and really built the tension. The ending was perfect - I hadn't got it in the other one, but it was very effective here. But the music didn't sit well for me, and I wasn't quite as keen on the actors' interpretational choices.

Jane Hamer
Fri, 11 May 2018 15:04:51 GMT

What a superb version this one is too. I love both versions and think the acting is really good here too. The priest in this one comes across to me as more arrogant than laid back. He even looks like he's been drinking. I love the opening shot which lets us see the church, and his urgency to get to confirm confession. The disheveled look of priest works so well and really ties in later on. We see a shot of the child's drink early on, it it would be nice to see a quick glimpse again when he says enjoy your drink.

Mon, 14 May 2018 11:55:54 GMT

The urgency of the 'killer' comes through well in this film and I particularly like the moment he discovers the tear-stained child. I wasn't as convinced by the priest as, for example, he doesn't seem perturbed by a gun being pointed at him. It would also help if the music were more tense - for me it's a little too upbeat.

Wed, 30 May 2018 12:04:44 GMT

Hi, Here's what's working for me - the church location is great, especially the establishing shot and the final moments are so moody! And the crying boy reveal is great. What didn't work for me though was the dynamic between the priest and the killer - the killer just feels angry rather than urgent and the priest was unfortunately a passenger for most of the film. The latter point is a real shame because there is such a sense of arrogance and lack of repentance when he is found out - he's unashamed to the end. I'd consider revisiting their interaction and recutting to add intensity to the sequence. There are some great moments here but you've got tough competition from the other version. David

Sat, 02 Jun 2018 20:47:06 GMT

WHAT I LIKED - I like the opening shot, panning down from the steeple - The confession scene from 1:24 - 2:04 I really like… it’s snappy and punchy and the actor does a good job here. It’s a believable portrayal of a killer with a heart. - 02:40 I like the staging of the reveal here. It’s a very nice shot - 03:09 I love the reaction shot of the boy THINGS TO CONSIDER - 031 - 0:50 I think you can just cut this all and pick it up just before he kicks in the door - 0:58 I don’t find the delivery of lines here at all convincing, which is a shame - I know it’s the end of the world, but the priest acts like someone points a gun at him every day. He doesn’t even flinch. Not believable for me. I know the priest is being played in a stand-offish, resigned way, but it really doesn’t work for me - 03:13 this is very dark. Could do with bringing the exposure up a tad

Mon, 11 Jun 2018 16:59:29 GMT

For me the priest doesn't quite work, I'm not sure what it is, he just seems to be there. The other actor is excellent. The scene at the end, the first time I saw it I thought they were sat in a cinema, on this final cut I realise it is the church. While the end of the world is beginning at the church is shaking, the young boy doesn't seem to hear it.

Fri, 29 Jun 2018 10:32:32 GMT

The opening scenes could be shorter. I like the interaction between the sinner and the priest. The thought the way the boy was revealed worked really well. When the priest has been sussed and he accepts it, to me that is in keeping with his character. I also like the end scene when they are sitting in the church and the boy has the man's jacket round his shoulders. The only thing I would suggest, which can be added in post production is a thin trickle of plaster coming from the ceiling of the church with the rumble and when the window shakes. Otherwise, a great film.

Michael van Koetsveld
Sat, 27 Apr 2019 00:29:51 GMT

Good work, but I have to agree that the priest was a bit wishy-washy most of the way through.