FIRST REFORMED

The message throughout this film is certainly one which is at odds with politics in the United States currently - its unwavering and unapologetic stance on environmental issues makes for occasionally bleak viewing, especially paired with the message that extremism is the only valid response to the current situation. It debates the purpose of humanity and the futility of the future, as Toller tries to debate furiously for the beauty of life, whilst struggling below the surface with his own personal demons.

Much of this inner conflict and change comes down to the extreme talent of Ethan Hawke. He plays superbly this gruff, highly intelligent, intangibly broken pastor, yet even with his flaws, invokes an empathy from the audience that, most vitally, carries for the duration of the film. It’s matched perfectly in tone and credulity by Amanda Seyfried, in a defining role for her career - this is a very demure and restrained performance, and certainly one of the most adult roles she’s taken on to date.

Equally as on point as the cast is the direction. Paul Schrader (‘American Gigolo’) tackles this film with unwavering precision. From its sparse opening titles, there’s a deliberate effort to make the viewing of ‘First Reformed’ as uncomfortable as possible. There is no music used throughout, besides infrequent performances by choirs in the story itself, making the film incredibly desolate. It’s shot in a 1.37:1 ratio (the same as the old 4:3 for television), which makes each and every shot extremely claustrophobic. Even more dramatically, there’s nearly no movement of the camera at all - the slow, meticulous cinematography with its fixed shots and harshly symmetrical framing are simultaneously stunning and ominous. Characters walk in and out of frame, sometimes leaving the scene empty, and all too often, you’re left anticipating - dreading, even - what will happen.

Despite the film’s near-pinpoint accuracy, there are a few elements which let it down. The end of the second act does become a little weighed down by contemplation, as Toller decides which path to take. The film is also unafraid to be brutal, and is often graphically confronting, sometimes when least expected, which may deter some audiences. Similarly, the ending is extraordinarily abrupt, and does leave much to your own contemplation. Without spoiling anything, be prepared for this story not to be neatly wrapped up.

For cinema with great impact, ‘First Reformed’ is an impressive experience. With the dedication shown by Ethan Hawke and Amanda Seyfried, and Paul Schrader’s intensely focused direction and screenplay, this is an ominous contemplation on faith that stretches far beyond the realm of religion.