take44:/OnlyGodForgives/

    "Only God Forgives, directed by Nicolas Winding Refn, is a film that exists at the intersection of genre, visual poetry and philosophical inquiry. Released in 2013, this neo-noir psychological drama provoked polarised reactions from audiences and critics alike. 

    "Only God Forgives" is an exploration of violence and redemption, continuing themes that have been prevalent in Refn's previous works such as "Drive" (2011) and "Bronson" (2008). However, "Only God Forgives" strips these motifs down to their raw essence. The film's pacing is deliberate and slow, which is not only a stylistic choice but also a means of immersing the audience in its oppressive atmosphere. Refn's commitment to minimalist dialogue and a heavy reliance on visual storytelling is a distinctive trait, reflecting a stark departure from traditional narrative cinema to something more akin to visual art. Semiology is the key to understanding Only God Forgives. Refn's film is laden with symbolic imagery that speaks volumes beyond the literal narrative. The recurring use of red light, for example, can be interpreted as representing anger, passion and the omnipresence of violence. The protagonist, Julian (played by Ryan Gosling), is often seen bathed in red light, suggesting his internal struggle with violence and guilt. In addition, the recurring motifs of hands - Julian's reluctance to use them, Chang's (Vithaya Pansringarm) skilled use of his sword-wielding hand, and Crystal's (Kristin Scott Thomas) manicured, controlling hands - reflect different facets of power and control. The film's depth also extends to the characters' interactions and staging. Julian's frequent placement in claustrophobic, dimly lit spaces symbolises his entrapment in a cycle of violence and retribution. Chang, on the other hand, embodies a god-like figure whose actions, though brutal, seem to be guided by a moral compass, or at least a strict code of justice. His calm demeanour, juxtaposed with his ruthless violence, symbolises the duality of divine retribution and moral ambiguity.

    Philosophically, the film explores themes of existentialism and morality. It challenges viewers to question the nature of justice, fate and the existence of free will. The film's title itself suggests a divine presence that is both omnipotent and inscrutable. Refn seems to be grappling with the idea of divine justice versus human justice. Julian's quest for redemption is paradoxical; his desire to confront Chang and seek revenge is in direct conflict with the redemption he seeks. Refn's characters often operate in morally ambiguous spaces. Chang's role as the "angel of vengeance" raises questions about the morality of his actions. He acts as judge, jury and executioner, reflecting an Old Testament-style God who is swift and unforgiving. Meanwhile, Julian's search for meaning and redemption in a world of senseless violence echoes existentialist themes, where meaning is elusive and constructed through one's actions, however futile or misguided they may be.

    "Only God Forgives draws heavily on the work of directors such as David Lynch and Alejandro Jodorowsky, both known for their surreal and symbolic storytelling. Refn's use of colour, particularly the stark reds and blues, mirrors the stylistic choices of Lynch's "Blue Velvet" (1986) and "Twin Peaks" series. Jodorowsky's influence is evident in Refn's exploration of existential and spiritual themes, as well as his use of grotesque imagery and hyper-stylized violence. In terms of cinematic movement, the film aligns with the European art-house tradition, particularly the French New Wave's emphasis on auteur-driven storytelling, where the director's personal vision and style dominate the narrative. Refn's approach also nods to the American New Wave of the 1970s, particularly in its unflinching portrayal of violence and moral ambiguity, drawing parallels with the work of Martin Scorsese and Stanley Kubrick.

    Cinematographer Larry Smith, who also worked on Kubrick's Eyes Wide Shut (1999), employs a striking visual style in Only God Forgives that is both mesmerising and disorienting. The film's visual language is built around stark, high-contrast lighting, symmetrical compositions and an almost obsessive use of colour to convey mood and emotion. The neon-lit streets of Bangkok, where much of the film takes place, create a claustrophobic atmosphere that mirrors Julian's psychological entrapment. The film's aesthetics draw on the visual tendencies of German Expressionism and Italian Giallo, particularly in its use of colour and shadow to evoke psychological states. The film's careful framing and use of negative space also recall the compositions of classic Westerns, particularly those of Sergio Leone, where the environment plays a crucial role in heightening tension.

    The script is deliberately sparse. Dialogue is minimal, with Refn preferring long silences and long glances to expository dialogue. This choice places greater emphasis on visual storytelling, requiring the audience to glean meaning from the subtleties of body language, colour and framing. The few lines that are spoken are often loaded with subtext, hinting at the complex relationships and power dynamics between the characters.  Crystal's dialogue, for example, is laced with venom and manipulation, revealing her domineering influence over Julian and her psychopathic tendencies. Her lines are in stark contrast to Chang's laconic but commanding speech, which underlines his authority and the existential weight of his character as an arbiter of divine justice.

    Narratively, it departs from conventional storytelling by adopting a more fragmented and non-linear approach. The film's structure is cyclical rather than linear, reflecting the repetitive nature of the violence and the inescapability of fate experienced by the characters. This structure enhances the film's dreamlike quality, blurring the lines between reality and hallucination, much like the narrative style found in Lynch's "Mulholland Drive" (2001). The story unfolds more like a series of vignettes or visual poems than a traditional narrative, with each scene contributing to the overall thematic tapestry rather than driving a linear plot. This approach challenges the audience to piece together the narrative, fill in the blanks and interpret the symbolism presented.

    Nicolas Winding Refn's personal style is evident throughout Only God Forgives. Known for his love of high-contrast visuals, deep colour palettes and a penchant for stylised violence, Refn's films are often more about mood and tone than narrative coherence. He has described his films as "fetish films" that cater to his aesthetic tastes and provoke sensory responses. In Only God Forgives, this is evident in the way he uses violence not just as a plot device, but as a visceral, almost ritualistic experience. The film's deliberate pacing and rhythmic editing contribute to this sensory immersion, often making the audience feel as if they are participating in a ritualistic dance of death and redemption. Refn's fascination with the concept of the anti-hero is also evident in Julian, a character caught between his violent impulses and his quest for redemption. Refn's depiction of masculinity, often in crisis or conflict, reflects a broader exploration of identity and morality, a theme that runs through much of his work.    

    "Only God Forgives" is a film that defies easy categorisation or interpretation. It is a cinematic work that operates on multiple levels, blending elements of filmology, semiology, philosophy and visual art into a unique narrative structure. Its heavy reliance on symbolic imagery, minimal dialogue and non-linear storytelling creates a challenging yet rewarding experience for those willing to engage with it on its own terms. Influenced by directors such as David Lynch and cinematic movements such as the French New Wave and German Expressionism, Refn has created a film that is both deeply personal and universally resonant. "Only God Forgives is a testament to the power of cinema as a medium for exploring the darkest recesses of the human psyche, wrapped in a visual style that is as mesmerising as it is disturbing.