Feature Film Let's Talk About Sects Science Fiction
Intense and incredibly well-acted psychological drama that confuses the viewer along with its characters.
Documentary filmmakers Peter and Lorna infiltrate a Californian cult with the aim to expose its leader, Maggie. She claims to have travelled to the present from the year 2054 to prepare mankind for an all-destroying civil war. Is Maggie a charlatan or is she speaking the truth?
We tend to not take films with apocalyptic scenarios, like those of ‘master of disaster’ Roland Emmerich, very seriously. In this paranoid thriller by director Zal Batmanglij and actress and co-writer Brit Marling we don’t actually see the world perish and subside into chaos, not even in a speculative flash-forward. There is mainly talk about the demise, and in this case that turns out to be a lot more exciting than a detailed depiction of a prophecy of doom. The tension is in the dialogue and in whether or not we should believe the charismatic Maggie. It all serves to make Sound of My Voice a uniquely disturbing paranoid thriller.
— This introduction will be in Dutch —
Before the screening of Sound of My Voice, counselor Frances Peters will talk about the magic of a sectarian group, how some leaders make use of unethical influence and what psychological impact this may have on the members. Hereby she will also discuss the belief systems that sectarian groups use. In fiction, Cults and cults are often put away as one-dimensional and far-off, but the truth is more layered. Peters speaks from personal experience: she is a 2nd generation Jehovah’s Witness but decided to step out of the group with her husband and children. Since then she has delved into the boundaries of ethical influence and with her company FreeChoice she counsels people who want to (re) discover their identity after they leave. She has experienced for herself how difficult it is to evolve from a victim to a survivor.
|Part of||Let's Talk About Sects|
|Cast||Brit Marling, Christopher Denham, Nicole Vicius|
|Introduction||by Frances Peters|