Inventive and extravagant, The Book of Clarence is a wild and trippy ride into the era of Jesus, retelling the lore and journey towards the infamous crucifixion. It’s a dramedy full of false messiahs, and biblical references meshed with modern slang, but underneath all the swag and light-hearted quips is a very human story of love, camaraderie, survival and wanting to leave a mark on the world.

It follows Clarence, the twin brother of Thomas the Apostle. A swindler and a con man, Clarence does what he can to survive and provide for his mother in a time when the Romans reign supreme over the people of Jerusalem. Beyond that, he’ll do what he can to make a name for himself and be a man worthy of the woman he loves – even if it means faking miracles and claiming to be the next messiah. The film stars LaKeith Stanfield in the titular role, alongside Anna Diop, RJ Cycler, Omary Sy, Caleb McLaughlin, James McAvoy and Benedict Cumberbatch.

The Book of Clarence is exuberant and lively, from its energetic cast who look like they’re having the time of their life playing their roles, to the unique combination of transitions and editing techniques used throughout the film. There’s not a single dull moment because there’s always something visually stimulating in sight, whether it’s the action-packed scenes or a dance sequence. Even in moments of silence and true sadness, there are close-ups of the actors’ eyes that convey to the audience the despair each character feels – especially Clarence. This combination makes the feature very dynamic and entertaining, on top of the already invigorating premise and comedic dialogue. But every experimental use of cinematography and editing comes with its own set of cons: there are goofs where the movements the characters make don’t match the impact, and times when the camera cuts between takes and characters have moved positions. The Book of Clarence can also be quite overwhelming with how many different effects are used in quick succession.

Where director Jeymes Samuel truly shines is in his incorporation of the music. It makes sense for a film directed by a singer and produced by none other than Jay-Z to deliver on the soundtrack and score. The use of rap tracks to create an almost operatic quality to the scenes is simply astounding. The soul of the score capitalises on this idea of religion as a cult – of how easily people can fall into the trap of someone claiming to be a prophet or their saviour. Each track chosen is fitting of Clarence’s journey and further underlines Stanfield’s brilliant portrayal of the character. An anti-hero, Clarence does bad things for good reasons. His arc in his belief and relationship with God is enthralling to follow because he is such a nuanced, layered character. It’s easy to root for Clarence even when he’s doing something wrong because the audience knows his heart is in the right place. Stanfield’s chemistry with all the other actors is also very enjoyable to follow, specifically with Cycler, Sy and his romantic affair with Diop’s character, Varinia.

Samuel’s second feature-length film is not perfect by any means. There can be too much going on at times that the message of it all gets lost, some of the production choices can be visually excessive and McAvoy and Cumberbatch’s talents are wasted with too little screen time. Still, the cast are all so charismatic, and the music so good, that they more than make up for any flaws. Unhinged in the best way, while still hitting a lot of emotional beats, The Book of Clarence is definitely an experience for the ages.

Mae Trumata

The Book of Clarence is released nationwide on 19^th April 2024.

Watch the trailer for The Book of Clarence here: