Always Here: A Southern Gothic Tale of Faith and Fate
Antonio Campos’ “The Devil All the Time” initially captivated audiences with its stellar cast, featuring the likes of Robert Pattinson, Tom Holland, Bill Skarsgård, and Eliza Scanlen. However, what served as the film’s primary draw ultimately becomes one of its few redeeming qualities. Throughout the movie, one can’t shake the feeling that the director was unsure of the film’s central theme. Is it about unwavering faith, the complex dynamics between fathers and sons, the darkness of serial killers, or the cruel hand of fate? This fragmented narrative makes it difficult to connect with the characters, who lack substantial backstories. The film’s core message drifts aimlessly, like a lost bird searching for a place to land.
The film centers around a war veteran’s desperate quest to save his wife from impending death, leading him to seek justice from God while gradually losing his sanity. Meanwhile, his son, Willard, strives to become the antithesis of his father, aiming to be a good and just man while living with his grandmother and stepsister. A pair of serial killers roams the backroads, and a local preacher, who inspires faith through bizarre rituals, evades both the law and his own conscience. These characters inevitably cross paths, influencing each other’s destinies.
Echoes of the Past: Trauma and Generational Conflict
The ever-relevant themes of childhood trauma and generational conflict are well-portrayed through Tom Holland’s character. His attempts to escape his father’s violent legacy prove futile, as his father’s influence subtly manifests in his character and actions. Similarly, Lenora (Eliza Scanlen) inadvertently follows in her mother’s (Mia Wasikowska) footsteps. This could have been a compelling parable about the twists of fate and the profound impact of parents on their children’s lives, had the director not tried to tackle too many themes at once.
The Unshakeable Presence of Faith
Despite these dramatic shortcomings, the film maintains a unifying motif: the pervasive presence of God in the lives of its characters. Each is consumed by their own form of religion. Those who fully dedicate themselves to faith teeter on the brink of madness and fanaticism, while those who believe in a higher power as something pure and unwavering are tragically doomed to misfortune. It’s as if the director is reminding us that nothing can shield us from pain and death. The devil is always present, and the evil that can reside within a person never sleeps.
Religion as a Cultural Imprint
In the American South, the church has long been a distinct cultural institution, a subject frequently explored by filmmakers. Here, we see yet another small, white church where locals gather to welcome a new preacher. Religion has left its mark on every character, whether preacher or serial killer. Even Arvin (Tom Holland), who seemingly rejects the idea of God, returns to his father’s makeshift prayer room, the origin of his childhood fears.
A Web of Interconnected Destinies
The film’s non-linear narrative is a welcome device that enhances the story. The characters are connected by invisible threads, creating a desire to see them converge. However, the further we venture into the forgotten South, the more blood is spilled. The characters are not given the opportunity to fully develop their own stories, as their narratives are interrupted by other, more or less significant, plotlines. Consequently, when the characters finally confront each other, the question arises: “Why are you all here?”