Apostasy

Powerful film-making

It is not wrong to be loyal to the righteous and just God of the Bible. He tells us that he will accept "in his holy mountain" only those who walk faultlessly, practice righteousness and speak truth (Ps. 15). If, though, a Christian were to throw in his lot with a wrongdoer who has been rejected by God and disfellowshipped, or has disassociated himself, that would be as much as saying "I do not want a place in God's holy mountain either." If the elders saw him heading in that direction by regularly keeping company with a disfellowshiped person, they would lovin__gly and patiently try to help him to regain God's view (Matt. 18:18; Gal.6:1). They would admonish him and, if necessary, "reprove him with severity." They want to help him remain "in God's holy mountain." But if he will not cease to fellowship with the expelled person, he thus has made himself "a sharer (supporting or participating) in the wicked works" and must be removed from the congregation, expelled.​

• "Disfellowshiping: How to View It"; The Watchtower Announcing Jehovah's Kingdom (September 15, 1981)

Apostasy is the low-budget feature debut of writer/director Daniel Kokotajlo and, as the name implies, it tells the story of a breakdown in the relationship between a member of the faithful and the organised religion to which they adhere, which, in this case, is the Christian denomination movement known as Jehovah's Witnesses. However, whilst the film tells the story of one person abandoning their religion, it also tells the parallel story of two people who refuse to do so, committing themselves more and more to its practices, even as they come to question some of its dogma.

Ivanna (Siobhan Finneran) is a mother to two girls, Luisa (Sacha Parkinson) and her younger sister Alex (Molly Wright). Living in a working-class area in Oldham, Greater Manchester, all three are Witnesses, with Alex in particular embracing the role of a publisher (the name for Witnesses...

This movie is a slow burner, more thoughtful and moody than dramatic and explosive. I wouldn’t advise watching it on two hours’ sleep or while on an adrenaline high (unless you want to calm down).

I have always liked Siobhan Finneran, and she doesn’t disappoint here. SHe gives a muted performance, no doubt as written and directed. After all, she plays a woman who is oppressed by the cult she belongs to. Even when she questions her role it seems like she is almost doubting her faith more than she is the beliefs their version of iron age religion dictates. The actresses playing her two daughters also do a great job. One of them embraces the Jehovah’s Witness brand of dogma while the other questions it, all without letting the difference come between them unless forced.

When you get past them to the rest of the cast, the acting doesn’t stand out, but since they are marching to Jehovah’s tune, perhaps they are meant not to stand out. The guy who is interested in marrying the younger sisters seems to phone his lines in, but again, perhaps as directed to do so. The film missed a chance for a tense, dramatic scene when tragedy strikes, opting instead to have someone afterwards say that she couldn’t believe her sister did that, rather than showing it. It is a sacrifice the script makes more than once to maintain the torpid, somber tone.

Siobhan Finneran really does turn in an effective performance as the mother "Ivanna" in his skin-crawlingly toxic drama that depicts a close family of Jehovah's Witnesses. She has two daughters who enthusiastically spend time trying to spread the word of God (in Urdu, frequently) amongst their community going from door-to-door. Quickly, we learn that "Alex" (Molly Wright) is not doing so well, and that there are issues about a life-saving blood transfusion that conflict profoundly with the family's faith. Her sister "Luisa" (Sacha Parkinson) adds to the complications when she announces that she's expecting a child with her boyfriend - and he's not in the congregation nor are they married. The expected tragedy duly ensues and this seriously tests the faith of "Luisa" who ends up ostracised by her peers to the extent that even her mother is largely forbidden from contact. As this separation continues, both women have to deal with their priorities and that's where the story becomes really quite visceral. This isn't the place to discuss the relative merits of the religiosity, but what we see here is an example of just how disagreeable zealousness can be when it's codification results in unhappiness for just about everyone. The promises made by so many religions that what's good in life is a "gift" and what's not is a "test" is potently conveyed here by auteur Daniel Kokotajlo and leaves us with a distinctly unpleasant taste in the mouth. The two women at the centre of the story manage to create an environment that really does get under your skin and they are ably aided, quite subtly, by the really quite odious characterisations of "Steven" (Robert Emms) and "Brian" (James Quinn) whose constant "we understand, but..." approach to the troubles faced in grief and despair make you want to throw something at the screen. As a drama, the production is simple as it allows the theology to do the work - and though it's not an easy watch, it does provoke quite a bit of thought and...