The Pacific has dried up and California has become a desert. Wes and Karen try to make the best of it but life is hard on them; even sex hurts. The only person who enjoys himself is Harry, the tax collector.
Combining the theatrical surrealism of Samuel Beckett and Eugene Ionesco, the pop-art playfulness of Richard Lester, scathing social critique, genuine pathos and the complex imagery for which writer-director Lech Majewski is renowned, Gospel According to Harry is a cinematic tour de force.
Years before the Lord of the Rings trilogy catapulted him to international superstardom, Viggo Mortensen plays Wes, a young husband locked in co-dependent discontent with his beautiful and needy wife Karen (Jennifer Rubin). Their future prospects as barren as the sun-bleached dunes that are the surreal setting for their one room existence, Wes and Karen go through the dehumanizing motions of a modern life in which happiness is as ephemeral and elusive as the grains of sand beneath their feet.
Artist, filmmaker, poet, and stage director; born in Katowice, Poland; graduated from the Łódź Film School in 1977.
In 2011, Lech Majewski completed three years of work on THE MILL & THE CROSS, a film based on Peter Bruegel’s painting “The Way to Calvary”. This unique digital tapestry, composed of layer upon layer of perspective, atmospheric phenomena and people, required patience and imagination as well as the use of new CG technology and 3D effects. Starring Charlotte Rampling, Michael York and Rutger Hauer as Bruegel, the film opened at Sundance Film Festival and was praised by Dennis Harvey in Variety as “an extraordinary imaginative leap; visually ravishing, surprisingly beguiling gamble; immersive experience… remarkable.” and by David D’Arcy in Screen International as “a breakthrough epic film… a revelation that should not be missed.” Since then the film sold to over 50 countries and has taken part in a score of festivals. Based on this intricate film work, Majewski… read more
While Majewski's extreme formalism creates an un-enticing glacial pace, he does craft amazing moments in which a traditional reading of Christian "gospel" is contrasted with a tale that is evidently more grounded in the capitalist reality that is spurned by the infamous text. The vast sand-scapes illuminate a barren world in which dust becomes the annoyance of worldly sins that can never be eliminated nor ignored.