Directed by Jack Turner and Craig Ebbrell, ‘God’ starts off with an almost deceptive simplicity. A man in a suit (played by Colin Jones) sits on a park bench, typing away on his laptop, visibly agitated. The setting is ordinary, the cinematography neat and well-framed, particularly for a low-budget film..
As the man walks off, passing through the park, the film begins its transformation. The initial sense of realism splinters, and suddenly, we’re somewhere else entirely. The frame swallows light, plunging into pitch-black territory, both visually and narratively. The audio warps, shifts, and becomes almost tactile, a sensory shift that feels like a breaking point. The post-production work is bold, layering effects that fracture the film’s earlier restraint into something abstract and experimental. It’s a striking contrast – like stepping from an indie drama into an avant-garde nightmare.
Then, just as abruptly, the chaos releases its grip. He returns home, seemingly unscathed but changed. The offbeat, almost playful tone re-emerges, giving the ending a tongue-in-cheek quality. Is our protagonist having a breakdown? A supernatural encounter? ‘God’ offers no hand-holding, and that’s part of the style. The title itself nudges the audience toward something bigger – something spiritual, supernatural, or just existential dread.
Warp House Films delivers a low-budget experiment that feels refreshingly unpolished in all the right ways. It’s quirky, edgy, and leaves its mark, even if that mark is just a feeling that you’ve missed something – and maybe that’s the point. Bold and offbeat. A worthy watch.
