Adapted from the New York Times best-selling memoir by Julia Scheeres, Jesus Land focuses on the central relationship between Ella Anderson’s Julia, and Xavier Johnson’s David. Exploring abuses of power within a reform school based in the Dominican Republic, where Julia and her adopted brother are sent.
This regime driven establishment overseen by religious zealots intent on purging them of perceived impurities, comes with a whole host of emotional caveats. What writer-director Salia Kariat does with this subject matter is highlight the injustice behind these methods and faithfully dramatize its effect on those under its guidance. Not only documenting the emotional impact but drawing audiences in with stark examples of inhumanity.
Racial prejudice also gets explored in some detail by Karait as Jesus Land is unpacked, combining narrow minded southern stereotypes with more targeted taunts around colour. This palette of institutionalised racism concealed beneath the cloak of religious fervour makes many scenes within the Dominican compound uncomfortable viewing. Drawing audiences into the drama and making them vicarious onlookers to the systematic shaming these teenagers endure.
There seems to be no room for forgiveness in the religious teachings that give this reform school structure, but Ella and David rebel anyway. Physical violence dressed up as essential penance, sends out contradictory messages to anyone watching, raising more questions as the film unfolds. Forgiveness plays no part here, and anything less than absolute obedience is met with mind games designed to undermine and diminish.
Image Courtesy of Wavefront Pictures
Bryce Johnson embodies Hank and gives his creation a multitude of layers that will have audiences questioning his villainous intentions. Disciplinarian, mediator, and school counsellor, Hank holds sway over these teenagers through fear. He represents the only adult male presence in the school beyond his colleague Becky, and the exploitation of their position adds another uncomfortable element.
Any humanity that Hank possesses comes in quieter moments, revealing someone who takes no pleasure in administering physical punishment. Raising questions around the blinkered perspective of institutionalised religion as a method of rehabilitation by tapping into Julia and David’s tragic trajectory at the same time.
Both Ella Anderson and Xavier Johnson handle the complexities of their character effortlessly, neither showboating nor grandstanding to garner an emotional response. If anything, their performances are understated in comparison to other members of this supporting cast. Among them Juliette Lewis who represents the biggest disappointment within this ensemble, despite making such a powerful impression in the recent Cape Fear remake on Apple.
There is no denying her star power, nor the acting chops she brings to Jesus Land, but in her role as matriarch Juliette Lewis lacks backbone. With limited screentime to make an impression, her mother figure feels two-dimensional in comparison to others on-screen. A fact that might not water down the overall message of Jesus Land but remains a needless distraction rather than the seismic slice of dramatic acting audiences might have expected.
Jesus Land premieres at the La Femme International Film Festival