Review: Pater Noster and the Mission of Light (2024)
Disclaimer: This film was given as a screener for the review use of HauntedMTL. You can find more information about PATER NOSTER AND THE MISSION OF LIGHT HERE or buy it on Amazon HERE.
A few years ago, I was talking with a friend and we got on the subject of meditation. I was just getting into it and was looking for some insight.
She’s a smart and well-rounded person, so when she recommended a meditation retreat, I was curious. She described a scenic, rural meditation center within Michigan that hosted weekend-long retreats. Especially silence retreats, where no one speaks at all and meditates for most of the day.
Being a podcast co-host/egoist who loves the sound of their own voice, I was fascinated by the challenge. Perhaps, I, too, could be one of those people who could go without talking for a weekend and become a smart and well-rounded person like her. Perhaps, I, too, could find enlightenment and all that shit.
So, I poked around the website of the retreat and I found something interesting…Music. There on the website were songs created by the meditation teachers. You could even buy their CDs.
“But Brannyk,” you must be thinking, “What does weird meditation music have to do with PATER NOSTER AND THE MISSION OF LIGHT?”
Well, everything.
THE PLOT OF PATER NOSTER AND THE MISSION OF LIGHT
Max (Adara Starr) is a happy-go-lucky and go-with-the flow hipster who works at Hear Kitty Records with boss Sam (Morgan Shaley Renew) and co-worker Gretchen (Shelby Lois Guinn). As she says, “I go where the music takes me.” This proves especially true as a regular comes in with one of the rarest records from Pater Noster and the Mission of Light.
Created by a commune in the 1970’s, this illusive group created multiple albums, most which were lost to time when the group mysteriously disappeared. Now their records are worth thousands, including the very last album they created, said to be cursed. With only four copies made, those who got their hands on the final album supposedly went insane or died.
When Max is miraculously able to get her hands on all copies – all except that last elusive album – she and her friends (including the lovely Sanethia Dresch and the hilarious Joshua R. Outzen) will go to all lengths to find that missing record. Soon they’re tangled in a web of mysticism, music and murder. Will they be able to find out the secrets of the mysterious Pater Noster (Mike Amason) and the Mission of Light in time or will this adventure be their swansong?
THOUGHTS ON PATER NOSTER AND THE MISSION OF LIGHT
Pater Noster is a strange little gem of a film by writer/director/producer/cinematographer/editor, Christopher Bickel. It’s a love letter to music, records and the weirdos who love underground music. It’s also a strange love letter to the cults who made music in that weird and wonderful time of the 1960’s and 1970’s.
Much like Mandy, there’s a surrealist atmosphere of the cult. Unlike Mandy, the film is gritty and filthy. You rub it between your fingers and there’s sweat and dead skin. It’s manic, raw energy. It’s a bad trip you can’t come down from. A nightmare which you cannot wake. It smells like vomit and fungus-ridden bowling shoes. It’s the worst hangover you’ve ever had.
And I mean all this in the best of ways.
The cinematography is an homage to indie films of the 70’s, looking like it was made on super 8 film and sold at an estate sale after being forgotten for years. The effects and makeup are beautifully practical, veering from subtle to ball-to-the-walls, literally puking up your guts. The shit that the crew was able to get away with in terms of action and effects is incredibly inspiring. It easily feels like this is a bigger budget film.
The acting is fantastic for the most part. Joshua R. Outzen as Jay Sin is so funny and honest with his performance. Sanethia Dresch is endearing as Sam’s friend/roommate, and film enthusiast. Morgan Shaley Renew as Sam’s boss is very charming as being like a mother hen for the group. Mike Amason as the eponymous Pater Noster is perfect casting, being able to make the switch from kindly old man to fearsome cult leader .
However, I had a hard time getting a read on Max (Adara Starr). She’s just always so happy and go-with-the-flow. Perhaps a bit naive. And maybe that’s the point. She “goes where the music takes her” and there’s little else that motivates her.
The story is clean-cut and follows a simple, but concise narrative. That’s not a bad thing, either. In fact, I prefer the simplicity. It has a clear progression and rising tension. There’s very little to detract from the story or distract the viewer. It’s smartly edited and the pacing is perfect, never meandering off and never throwing everything at you all at once.
The ending is gruesome, chaotic and incredibly satisfying. The finale is beautifully and grotesquely shot. There’s a special balance of avoiding showing too much or not enough, especially with gore and body horror. There’s an art to cutting action just right to make sure the audience is aware of what’s happening, but adding to the tension of the scene. Thankfully, Bickel nailed it with PATER NOSTER AND THE MISSION OF LIGHT.
BRAINROLL JUICE:
I have a longer Brainroll Juice for this one (RIP SEO readability), so I’ve set it into two parts – History of Music and Religion and the Cults in the US during the 1960’s-1970’s. Of course, these are just super brief overviews of each and I’m no expert. But I thought it would help with some of the context of my review and also PATER NOSTER AND THE MISSION OF LIGHT.
History of Music and Religion
Religion and spirituality have been intertwined with music since perhaps the dawn of time.
The great goddess Kubile/Cybele was a huge proponent of using music and dance for healing, mental health and spirituality. Dionysus often had raves that lead to prophesies, healings and sexy times.
Meanwhile, the Assyrians used music as a war cry under Ishtar, looking for victory to the beat of cymbals, drums and war-pipes. The Egyptian goddess Isis is said to have created the sistrum (which looks like a wicked torture device). And worshipers of the child-sacrifice-friendly god, Baal-Moloch had priests singing hymns of praise during rituals and sacrifices.
In India, the role of music was relegated to temples, using drums, conches and flutes as instruments to honor the gods. Music was integral in worship and tapping into the realm of the divine. Guy L. Beck explains in Sacred Sound: Experiencing Music in World Religion, “As Brahman pervaded the entire universe, including the human soul at its core, the notion of sacred sound as manifested through chant and music provided a veritable thread binding the human realm to the divine.”
Guru Nanak, the founder of Sikhism, taught through shabads. These were devotional hymns and mantras of the religion, of which many still survive to this day.
And of course, from my boy Rumi, there are the Mawlawīyah, the whirling dervishes, who dance in a religious mystic fervor to prayers and music.
Not to be beat, in the Abrahamic religions’ history, God and music are nearly inseparable. Joshua’s trumpets brought down the walls of Jericho; King David’s wrote and performed numerous psalms; Miriam (Moses’ sister) led a victory song and dance party to celebrate their freedom from the pharaoh.
Obviously, this is a very, very brief overview, but it shows the cultural significance of music of spirituality. Music is an incredibly human and old form of expression, dating back around 40,000 years ago. Songs carry power, our history, spirituality, good omens, and warnings. It’s part of our culture and social learning. We weld our songs reverently, dangerously, softly and loudly.
It’s amazing to think that music today holds just as much joy, expression and spirituality as it did when we as humans didn’t have a written language yet.
Cults in the US during the 1960’s-1970’s
Well, here’s the other half of Bickel’s love letter.
During the rise of religions/cults of the 1960’s and 1970’s, particularly within the United States, music was also critical in their teachings and appeal. Through civil unrest, the rise of drug culture, search for personal identity and the global access to new religions of the East, the American youth sought answers to larger questions. They sought community. Conviction. A place to belong.
From the Beatles getting hippie-dippy with Hare Krishna, to the Helter Skelter of Charles Manson, music and cults also intertwined within this chaotic period.
Cults frequently used music as a means to communicate, to prophesize, to heal and to convert. It’s easy to feel like you belong when you know all the words of the songs and the steps to the dance. You feel like you’re in the “in-group”. Like you, yourself, are part of something larger.
On the Children of God’s website, it states that, “the Children of God became famous as their original music gained popularity when their bands landed recording contracts and big-stage performances, particularly in France and Brazil. From radical rock-style songs denouncing the hypocrisy of the establishment of the day, to heart-touching folk ballads about God′s love, original music became a prominent feature of the movement′s outreach and culture.” They even have a playlist.
The Unification Church (aka the Moonies) have a YouTube channel full of songs, including karaoke versions (worst karaoke party ever).
Bickel created a film that encapsulates the fervor of music and the (sometimes) dangerous allure of spirituality/cults. The quest to find answers and our meaning in the universe. The love of music and its hold on the human soul. The aching desire to be connected with others, with the self, with some kind of higher plane or answer to our questions.
Sam goes where the music takes her; her religion is music. Her worship is through the collection of these records, regardless of the danger associated with it. Not only does she go willingly into the den of Pater Noster, but follows without any suspicion or hesitation.
Pater Noster and the Mission of Light is enticing, with its cheery psychedelic songs, wrapped up in mysticism and mystery. And Bickel showcases this incredibly human desire for something more, for cosmic connection through harmony (literal and metaphorical), and its consequences.
BOTTOMLINE:
It’s Ghost World meets Mandy but dropped on the bloody floor of a mosh pit.
(5 / 5)
PS – Herb Alpert’s Whipped Cream is a FINE album
References:
Treitler, Leo. “History and Music.” New Literary History, vol. 21, no. 2, 1990, pp. 299–319. JSTOR, https://doi.org/10.2307/469254. Accessed 5 Jan. 2025.
Martens, Frederick H. “The Influence of Music in World History.” The Musical Quarterly, vol. 11, no. 2, 1925, pp. 196–218. JSTOR, http://www.jstor.org/stable/738578. Accessed 5 Jan. 2025.
Hansen, Greg (2008) “Sacred Sound: Experiencing Music in World Religions. by Guy L. Beck, editor,” BYU Studies Quarterly: Vol. 47: Iss. 1, Article 16. https://scholarsarchive.byu.edu/byusq/vol47/iss1/16
McLeod, William Hewat and Nangia, Tamanna. “Guru Nanak”. Encyclopedia Britannica, 1 Jan. 2025, https://www.britannica.com/biography/Guru-Nanak. Accessed 5 January 2025.
Britannica, The Editors of Encyclopaedia. “Mawlawīyah”. Encyclopedia Britannica, 15 May. 2012, https://www.britannica.com/topic/Mawlawiyah. Accessed 5 January 2025.
Killin, A. (2018). The origins of music: Evidence, theory, and prospects. Music & Science, 1. https://doi.org/10.1177/2059204317751971
Paglia, Camille. “Cults and Cosmic Consciousness: Religious Vision in the American 1960s.” Arion: A Journal of Humanities and the Classics, vol. 10, no. 3, 2003, pp. 57–111. JSTOR, http://www.jstor.org/stable/20163901. Accessed 5 Jan. 2025.
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
Movies n TV
When “The Demon of Cults” Delivers Your Brand of Evil
The assessors investigate “The Demon of Cults,” the seventh episode of Evil, created by Michelle King and Robert King.
“The Demon of Cults” is the seventh episode of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate a cult. David (Mike Colter) struggles to keep his commitment to the Entity as they test his morality. Kristen (Katja Herbers) learns some unsettling plans for her family. Ben (Aasif Mandvi) spends an evening with a friend and meets a divine figure. Dr. Boggs (Kurt Fuller) begins a spiritual journey to write a novel.
What I Like About “The Demon of Cults”
As the brief description above should indicate, Ben endures a lot in this episode. From comedic scenes to genuinely intense moments, Aasif Mandvi delivers a performance that adapts to the plot. His chemistry with a new character (Gia Crovatin’s Renee) also deserves praise as it drives his subplot in the episode.
Brian d’Arcy James’ Victor LeConte returns, bringing this eerie character to life again. While his motives become more comprehensible, his methods continue to create division. As his motives unfold and methods become darker, it upsets many characters.
The last performance to focus on is Gia Crovatin’s Renee. She plays a foil to Ben, showing an intelligent character who blends her spiritual beliefs with her scientific knowledge. This character supposedly appears in “The Demon of Sex,” making a direct claim of this in the episode, but didn’t physically appear in “The Demon of Sex.” Renee makes a lasting impression through her charisma and chemistry with Ben.
This episode returns to a few points of the RSM Fertility plotline. While it doesn’t satisfy lingering questions, it does enough to show Evil hasn’t dropped the plotline entirely. The implications hit Kristen particularly hard as it directly relates to her family.
While the last few episodes hold a haunting beginning or end, “The Demon of Cults” excels in the middle of its narrative. Not every moment earns the level of haunting its viewers, but those moments stand out.
Tired Tropes and Triggers
A running motif of the episode follows the processes of cult indoctrination and deprogramming. “The Demon of Cults” doesn’t dive deep into this material but remains a key element to many plotlines. It also briefly mentions Qanon, broadening the cultish focus to one beyond spirituality.
“The Demon of Cults” remains a bloodier episode of Evil, bringing out a truly exceptional scene to those squeamish at the sight. It’s not particularly gory, focusing more on the liquid spectacle, but a point worth referencing.
While not shown, an animal sacrifice supposedly occurs. The viewer doesn’t see the exact moment of this act but does see the leading moment and results. A character confirms the sacrifice shortly after, leaving little ambiguity.
What I Dislike About “The Demon of Cults”
“The Demon of Cults” doesn’t unpack Ben’s suffering in this episode. From addressing some of his childhood trauma to navigating the unclear motives of the cult, Ben doesn’t get the opportunity to dive into these plot points with much depth. Some of these elements will earn later focus but little follow-through.
It’s never directly shown how the Entity comes to know the events they know. Some points are observation and spying, but others require a level of intuition that needs some explanation. Future revelations might add a potential theory, but these points remain headcanon without confirmation.
Final Thoughts
“The Demon of Cults” explores the evils of indoctrination and the trial of deprogramming. While some elements are underdeveloped or lightly touched on, the episode still possesses some moments that haunt the viewer. While it’s far from the most haunting episode, it does provide lingering points for the show to follow and an exceptional ending to tie everything together.
(3 / 5)
Movies n TV
A Taste of Cosmic and Occult Horror, or Messiah of Evil
Arletty searches for her estranged father in a remote town, witnessing illogical events that only grow stranger in Messiah of Evil.
Messiah of Evil (1974) is a Lovecraftian horror film written and directed by Willard Huyck and Gloria Katz. This R-rated horror film stars Michael Greer, Marianna Hill, Joy Bang, and Anitra Ford. As of this review, the film is available on Tubi TV, Hoopla, Shudder, AMC+, Screambox and much more.
Arletty (Marianna Hill) searches for her estranged father in a remote town, witnessing illogical events that only grow stranger. After meeting Thom (Michael Greer), a bizarre artist, and his female companions (Joy Bank as Toni and Anitra Ford as Laura), she finds moderately normal help against the growing madness. But as the forces against them grow, madness seems a blissful peace.
What I Like about Messiah of Evil
There’s a Lovecraftian focus on this occult horror, following many aspects that distinguish H.P. Lovecraft from the Cosmic Horror genre he inspired. Specifically, the town feels straight out of one of his stories, with locals openly hostile and awkward to outsiders.
There’s a continued eeriness to the scenes that beats with the allure of Lovecraft. At times, this doesn’t inherently yield logical sense, but the growing strangeness fits the film’s reality.
![Messiah Of Evil (Standard Special Edition) [Blu-ray]](https://hauntedmtl.com/wp-content/plugins/aawp/public/image.php?url=YUhSMGNITTZMeTl0TG0xbFpHbGhMV0Z0WVhwdmJpNWpiMjB2YVcxaFoyVnpMMGt2TmpGRFNXTXpjblZ1ZWt3dVgxTk1NVFV3TUY4dVgxTk1NVFl3WHk1cWNHYz18MTc0MDMwNDIyMQ=)
- A woman arrives in a sleepy seaside town after receiving unsettling letters from her father, only to discover the town is under the influence of a strange cult that weeps tears of blood and hunger for human flesh
- From Willard Huyck and Gloria Katz, the writers of American Grafitti, Indiana Jones and the Temple of Doom and Howard the Duck, this dreamy and atmospheric film transposes the post-Night of the Living Dead zombie movie to a surreal small-town American setting, presented through gorgeous Techniscope visuals that echo the stylish European horror of Mario Bava and Hammer
- A true cult film, Messiah of Evil, which was also released as Dead People, has overcome distribution challenges to enjoy growing awareness and high acclaim after decades of word-of-mouth enthusiasm among horror cinema fans and critics around the world
- Hailed in 2003 by The British Film Institute as “a rare work of cinematic genius,” this occult tale comes from writer/director Willard Huyck, known for his work on such popular movies as American Graffiti, Indiana Jones and the Temple of Doom, and of course, Howard the Duck
- Starring a bevy of 1970s eye candy, including Anitra Ford, Joy Bang, and Marianna Hill, Messiah of Evil is about a young woman (Hill) whose search for her missing father brings her to a strange seaside town under the influence of a mysterious cult
- A woman arrives in a sleepy seaside town after receiving unsettling letters from her father, only to discover the town is under the influence of a strange cult that weeps tears of blood and hunger for human flesh
- From Willard Huyck and Gloria Katz, the writers of American Grafitti, Indiana Jones and the Temple of Doom and Howard the Duck, this dreamy and atmospheric film transposes the post-Night of the Living Dead zombie movie to a surreal small-town American setting, presented through gorgeous Techniscope visuals that echo the stylish European horror of Mario Bava and Hammer
- A true cult film, Messiah of Evil, which was also released as Dead People, has overcome distribution challenges to enjoy growing awareness and high acclaim after decades of word-of-mouth enthusiasm among horror cinema fans and critics around the world
Last update on 2025-02-19 / Affiliate links / Images from Amazon Product Advertising API
I am a fan of the ghoulish, and there are plenty of ghoulish figures in Messiah of Evil. First, they linger in the shadows but are ever-present in the plot. As Messiah of Evil builds to its conclusion, these ghoulish forces surround the protagonists. They seem haunted and changed by the cosmic truths of the film.
It’s in this unsettling and creepy atmosphere that Messiah of Evil shines among other Lovecraftian works. Lovecraftian horror films often struggle to communicate this atmosphere, rarely diving into the madness that Messiah of Evil excels in.
Tired Tropes and Triggers
Gore seems the most obvious point to mention, along with body horror to some degree. While Messiah of Evil doesn’t linger in its gore, some moments challenge the squeamish. Some of these moments loosely qualify as body horror, but not nearly enough for fans of the genre.
One can make the case that some female characters are depicted as shallow. However, many characters follow a specific and familiar quirk for Lovecraftian films. The female characters earn an equivalent amount of development to their male counterparts, if shallow at times.
There is an awkward romance between Arletty and Thom. It’s reminiscent of the poorly executed lead romances that seem part of a studio checklist. However, the strange events and eeriness of the characters help make this decision more digestible.
What I Dislike about Messiah of Evil
These issues are more careful considerations for viewers to decide on. There’s a stilted awkwardness that remains a common acting choice for Lovecraftian films. This helps create an eerie atmosphere, but it’s a required taste.
The mystery does invite interest, but Messiah of Evil doesn’t build these mysteries with a desire to satisfy its viewers. Some mysteries get answers as soon as they are raised, and others end abruptly when the film refocuses its attention. There is one exception to this pattern, leading to the heart of the Lovecraftian horror. That mystery should take priority, but it doesn’t.
With a 1974 release date, Messiah of Evil remains a dated film in many ways. There’s something about the color pallet and cinematography that seems timeless, but it remains an older film. Don’t expect a modern design or expensive special effects.
Final Thoughts
Messiah of Evil brings to life the Lovecraftian horror so overlooked in films. While it’s far from perfect, the film shows the unraveling power Lovecraftian horror possesses. The greatest challenge in adapting Lovecraftian works is communicating the overwhelming unknowability of the cosmos. There are many moments where the viewer feels that unknowable madness. Messiah of Evil earns a place for fans of the Lovecraftian genre.
(4 / 5)
