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GOD’S KINGDOM

Jack and Ella travel alone, taking the path less trodden. Dishevelled and dirty they keep away from people, towns and cities, off the grid. They are hiding and on the run, but from what and why?

Guy Soulsby has got us used to some fantastic production values in his rather demonic films. We definitely remember his tempestuous graphic work in ‘Devil Makes Work‘, topping at number two on our 2015 Top 5 trailers. 26 minutes is a large investment to ask an online audience, but his latest thriller ‘God’s Kingdom‘ is fully worth the time.

I was researching for another project and became consumed by the stories in the book of Revelation, especially the Whore of Babylon. There is an enormous amount of imagery, ideas and thoughts that get conjured up when reading the book. I wanted to translate a part of it into the present by wrapping it in a story that the audience could relate to more easily. When you break it down the film is a tale of good versus evil, somewhat like a western and the Yorkshire Dales are my version of the wild west.

God’s Kingdom‘ is driven by the unknown suspense. The two protagonists are hiding and on the run, but from what and why? Slowly hinting a demonic and supernatural expectation, the storyline constantly keeps us on the edge trying to figure out relationships and reasons. Marked by some stellar performances from a valued cast like Alistair Petrie – (Rogue One: A Star Wars Story, Rush, The Night Manager), Anthony Flanagan – (The Terror, Versailles and Red Riding: The Year of our Lord 1974) to name a few, the film also rounded a remarkable crew for a fantastic production. Guy says they very fortunate to have amazing support from Ben Mitchell at Focus 24 in London. They provided all the camera equipment, and Director of Photography Nicholas Bennett shot the film on an Alexa with a set of Cooke lenses.

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