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Those familiar with Eddie Alcazar’s short film, The Vandal, have already seen the writer-director’s inclination towards pushing the envelope of what is possible on film. With this knowledge, his latest feature-length film, Divinity, is less surprising in its ambition and more impressive that it is pulled off to this scale so effectively. It’s easy to see why Alcazar was mentored by Steven Soderbergh (who executive produces the film), as both filmmakers are toying with the format in interesting ways. With Divinity, Alcazar introduces a new obsession for genre and midnight audiences in a delirious science fiction trip that never settles down while still delivering a cunning commentary on the lengths humanity will go to defy death – even if it means losing your humanity along the way.
Composed entirely in black-and-white and employing various filmmaking techniques, including the mix of stop-motion and live-action (otherwise known as “Meta-scope,” Alcazar’s pet project), Divinity is a sight to behold. It depends on its visuals more than it does its narrative, but it builds a retro-future aesthetic that lends itself well to a story about two people trying to make a selfish scientist see the error of his ways. It’s clean and sterile but also pushed against by the grotesque realities hidden in the origins of the titular Divinity – a drug that can provide immortality to its user.
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