Following Refn’s successful 2011 offering “Drive”, he veers off in a completely different direction. The lead role being the same actor is the only part these two films have in common. Far from an take on a B-movie plot with artful direction as he had done with Drive. This is a complex metaphor driven narrative, somewhat resented by critics and the general population alike for it’s violence and sexual themes and the need for several viewings to form a consistent interpretation.

The negative reception of this film seem to come entirely from those unwilling to co operate, a refusal to acknowledge the purposeful minimal dialogue of Gosling, for example. His feelings and intentions are still clear due to the way Julian (Gosling) appears and acts. The mindset recommended for viewing is one of interpretation, it seems that the action filled trailer somewhat fooled people into thinking this may be a simpler, action driven affair that revolves around one fight.

The opposite comes true, as a myriad of dream sequences, a god-like antagonist, strong oedipal themes and a consistent showing of Refn’s ability to create a perfect shot make this one of the most interesting films of recent memory. What has to be discerned is your interpretation of certain events or scenes, rather than a defined and pre-concieved meaning. This is a piece that must be watched multiple times, and actively thought about, as opposed to passively digested like the majority of cinema.

Only God Forgives is not a perfect masterpiece, but it certainly is an interesting piece that will be appreciated more after repeated viewings. The soundtrack and aesthetics prove themselves to be incredibly effective and unique, parts are undeniably beautiful and masterful, despite some elements falling flat or being somewhat indiscernible. This is for film makers, art film fans and those who enjoy being challenged as well as entertained. It’s difficult to say this movie is like anything else, and that alone is worth at least one viewing.