Guest review by Kevin Pyrtle of WTF-Film

Here in Minneapolis there’s a strange little show [you’ll have to forgive me for not remembering the name of it] that plays the public access stations every week or so. It features a host of young talent who frolic in front of a blue screen in various stages of undress while ancient video effects are laid over top of it all in a random fashion. It goes on for an hour, reaching ever dizzier heights of incomprehensible nonsense and leaving you puzzled as to what, if anything, you were meant to take away from the experience.

All of the above could rightly be said for this Alfred Eaker film as well, which the director describes on the IMDB as ‘a surreal, complex, modern, psychedelic film retelling the life of Christ as woman and leader of the Gospel of Yes.’ The main difference between the two is that Jesus runs slightly longer, around seventy three minutes before the lengthy credits roll.

Complex it is, indeed – there’s never a moment [credits included] in which Jesus has nothing going on. We get endless loopy dialogue, re-interpreting the Gospel with frequent pop culture references and commenting on the various ills of contemporary society all the while. Not that there’s time to soak any of it in, as the words pile up in ungainly multitude and start to sound like inarticulate mush after a while. It’s akin to a rambling political address. I know that there’s a point to all of it somewhere, but the manner in which it’s put across leaves me with no interest in finding out what it is.

If interpreting the dialogue is difficult on its own, then the accompanying visuals make the task doubly so. Jesus is populated by an endless parade of excruciatingly bad visual effects that could have originated from the plugin archives of any prosumer video editing application. Most of them involve people doing random things while other people, through the magic of digital process photography, do random things in front of them. There is some interesting artwork on display [all credited at the end], but you have to look closely to even see it through the multiple layers of visual obfuscation. There is also some not-so-interesting artwork, much of which could have been accomplished in MS Paint.

Far be it from me to say that Jesus, in spite of its obvious faults, is not a creative enterprise. Creativity is one thing its producers obviously have in spades. There’s no telling how many long days and sleepless nights went towards its realization, making it all the more a pity that something easier to appreciate didn’t result. There’s some good substantive meat to the rambling narrative [like commentary on drug abuse, abortion, and sexual dynamics], but you have to dig through piles of aesthetically repellent gunk to find any of it. I doubt that most, regardless of their artistic sensibilities, will have the patience for it.

Jesus and Her Gospel of Yes is undeniably weird and original to the max, but its crude brand of no-budget shot-on-video mayhem just wasn’t for me. While I didn’t enjoy it, I have to admire that Eaker was at least trying something new here – a rare thing in these days of utterly barren mass marketed entertainment. I have a feeling that the world would be a far better place if even a hundredth of a percent of the box office earnings from the latest Hollywood action debacle was to find its way into the pockets of the Eakers of the world.

Jesus and Her Gospel of Yes is currently available exclusively for download at DownloadHorror.com.