Hey Gary,
Just finished watching — and wow. I made notes as I watched because I didn’t want to forget a single beat that struck me. The opening alone is brilliant — the overhead shot, the narration, the way the camera finds its way above the car and then lowers… revealing only half her body. That pause on the contents of the car gave me a flash of who she is before we even meet her. It’s smart, confident storytelling. And the Doors track? Perfect.
The walking sequence reminded me of Tarantino and Scorsese — that classic cinematic swagger, where the hero owns the frame and walks to their own beat. The “FUCK” cracked me up — such a great, unexpected punctuation.
Her entrance into the church — spaghetti western vibe, headband, bandana, the whole vibe — I was completely in. When she lays the gun down before entering and then that little whistle moment as we see her from behind… whether intentional or not, it’s genius. I literally thought “whistle whistle” to myself.
The coin she drops — I caught the hole in it. Brought back memories from my travels; I used to collect coins like that — Japanese, maybe French? That small detail stuck with me.
Loved that it’s chapterized. The match scene had a nice double beat. But what really hit was the tone shift — when she’s by the candles, saying the prayer, walking to the pews, then covering her face to sing. I was pulled in hard right there — so much curiosity opened up.
Her conversation with her counterpart? The “Do you remember?” line felt like soul-speak — the longing for peace, for wholeness. And then, perfect timing: my six-year-old daughter came running in just as Gabriel appeared, beaming. She’s watching the rest with me now.
My daughter was absolutely transfixed by the “leap of faith” moment — kept asking, “How did she do that?” She’s wise beyond her years, an old soul in her own right, and she’s digging this. I asked her what she liked about Asherah, and she said, “She’s strong.” That right there is a powerful audience reaction.
Asherah giving it to HIM — I’m here for it. Loved the HIM and HIS boys reference — humanizing the divine is a bold move, and it works.
“Victimhood gets you nowhere.” That one stuck. It feels autobiographical. I relate. Reminded me of how I’m always trying to step outside my own story and not get lost in the wider narrative. You put that tension beautifully into words.
“I was older then, I’m younger now” — loved that too. It speaks to the idea that no matter how long we’ve been lost, we can always choose to return, realign, reawaken.
“We’re the same and you don’t even know it.” Such a strong, feminist line — not in a slogan-y way, but in a soul-grounded one. As a father to two girls, that hit deep. That matters.
And then: “It’s been an eternity since my last confession…” — great line.
The blood-money twist? Pulled me right back in. And when she changes into the dress, I caught the blood on her previous clothes — great foreshadowing. Retribution came swift — wasn’t expecting that, and it landed.
That Omen-esque end score gave me chills. “Something wonderful is about to happen :)” — the perfect final note. I’m totally invested now.
All of this to say: I really watched. And I really felt it.
The piece you’ve created is alive with tension, humor, myth, memory, and soul. It speaks in symbols and story, but also directly to something ancient and urgent. It’s not just a film. It’s a reckoning — and a return.
I see exactly what you’re doing with Asherah — and I think the world is more than ready for her.
You’ve definitely created something rare.
Respect,
Oli
