“The Devil All the Time,” directed by Antonio Campos and released in 2020, is a haunting psychological thriller that immerses viewers in the dark undercurrents of American life in the mid-20th century. Adapted from Donald Ray Pollock’s novel of the same name, the film weaves together a tapestry of interconnected stories that explore themes of violence, faith, and the pervasive nature of evil. With a stellar cast that includes Tom Holland, Bill Skarsgård, Robert Pattinson, and Mia Wasikowska, the film offers a chilling examination of human depravity set against the backdrop of the American South.
The narrative unfolds in the fictional town of Knockemstiff, Ohio, where the lives of several characters intertwine in a disturbing exploration of morality and the consequences of trauma. The film primarily follows Arvin Russell (Tom Holland), a young man shaped by the violence and suffering that surrounds him. Following the death of his mother, Arvin is raised by his grandfather, Willard (Bill Skarsgård), a World War II veteran with a dark past. This familial lineage is marked by a cycle of trauma and moral ambiguity that reverberates throughout the film.
The setting itself plays a crucial role in establishing the film’s atmosphere. The rural landscape of Knockemstiff, with its dilapidated homes and oppressive woods, serves as a stark reminder of the struggles faced by its inhabitants. The cinematography, crafted by Lol Crawley, captures both the beauty and bleakness of the region, enhancing the film’s gothic aesthetic. The oppressive sense of foreboding permeates every frame, drawing viewers into a world where danger lurks just beneath the surface.
A notable aspect of “The Devil All the Time” is its ensemble cast, each contributing to the film’s complex narrative. Robert Pattinson delivers a standout performance as Preacher Preston Teagardin, a manipulative and corrupt figure who preys on the vulnerable. Pattinson’s portrayal is unsettling, showcasing a character whose religious facade hides a darker, predatory nature. The film critiques the ways in which faith can be weaponized, exploring the hypocrisy of those who exploit belief for personal gain.
