Name: Hail Satan?
Genre: Documentary
Released: 2019-04-17T00:00:00+00:00
Cast: Nicholas Crowe, Malcolm Jarry, Lucien Greaves, Jesper Aagaard Petersen, Jex Blackmore

The opening shot of Hail Satan? lingers on a statue of Baphomet, its goat-headed visage gazing out over a crowd of activists. It’s an image that captures the film’s central tension: the collision of the sacred and the secular, the serious and the satirical. Directed by Penny Lane, this documentary traces the rise of The Satanic Temple (TST), a movement that uses religion as a tool for activism, challenging the Christian privileges embedded in American society.

Lane’s film is at its best when it dissects TST’s public actions, like their campaign to erect the Baphomet statue next to Ten Commandments monuments. These sequences are electric, capturing the group’s mischievous humor and genuine outrage at religious discrimination. The footage of TST members organizing “Menstruate with Satan” to advocate for menstrual equity is particularly compelling, blending activism with dark comedy. Lane’s editing is sharp here, cutting between interviews and protest footage to create a sense of urgency and momentum.

The film also excels in its exploration of TST’s origins. The sequence detailing the group’s sarcastic praise of Florida Governor Rick Scott for his support of school prayer is a standout, illustrating how their initial publicity stunt evolved into a genuine movement. Interviews with co-founders Lucien Greaves and Malcolm Jarry provide insight into their motivations, though Lane could have delved deeper into the personal stories of rank-and-file members.

Where Hail Satan? falters is in its pacing. The film’s six-month editing process has resulted in a documentary that sometimes feels rushed. Complex ideas about the separation of church and state are introduced but not fully explored. Additionally, while Lane’s decision to focus on TST’s activism is compelling, it occasionally comes at the expense of narrative cohesion. The film’s structure can feel disjointed, jumping between different campaigns without sufficient context.

The performances from TST members are engaging, particularly Jex Blackmore and Lynita Killen, whose passion for their cause is palpable. However, the documentary format limits the depth of these portrayals. Lane’s interview style is straightforward, sometimes missing opportunities to probe more deeply into her subjects’ psyches.

In terms of originality, Hail Satan? stands out in its subject matter but struggles to find a unique cinematic voice. The film’s tone oscillates between serious and satirical, which can be jarring. While Lane’s exploration of TST’s activism is fascinating, the documentary doesn’t offer a fresh perspective on the broader themes it touches upon.

As a genre fit, Hail Satan? works well as a political documentary but less so as a character study.

Tags: Hail Satan?, Lucien Greaves, Malcolm Jarry, Nicholas Crowe, Penny Lane