Filmmaker Mark H. Rapaport’s (Hippo) second feature, Godhead, proves that there is something cooking on the indie scene that needs to be experienced more and more by audiences so that more directors and screenwriters like him can find a wider audience. Having its world premiere in the Underground section of Fantasia International Film Festival 2026, Godhead is a religious adventure that doesn’t inherently feel or come off as preachy but relies heavily on religious ideology, how we can be convinced/tricked into believing things, and, ultimately, the consequences or successes of that ideology. Grounded by an incredible ensemble there is a lot to appreciate with Godhead, albeit it does ask a lot of questions about ourselves that requires some deeper thought and engagement.
Sarah Coffey as Firstborn in GODHEAD. Photo courtesy of Fantasia International Film Festival.
Godhead focuses on Firstborn (Sarah Coffey) and Secondborn (Kimball Farley) as they enter a church and meet Father (Al Warren) as they try to convince him that they are prophets and divine. Already, Godhead is off to a promising start making a priest and member of the church question their beliefs by having “prophets” enter the scene and question his beliefs and teachings. Of course, Father is reluctant to believe that these two people are truly prophets and have been sent by God to carry out their mission, but when they manage to pull off something that truly cannot be explained in any way, shape, or form, Father decides to at least listen to what they have to say whether he believes their mission or is just covering his bases. Father listens to what Firstborn and Secondborn have to say, and the twists and turns never stop with furthering complications and consequences of what’s revealed, Godhead proves to be a thought-provoking and disturbing look at religion, when it can be weaponized and/or exploited.
Kimball Farley as Secondborn in GODHEAD. Photo courtesy of Fantasia International Film Festival.
The script penned by Rapaport, thankfully, decides to play outside the lines of fantasy and reality, consistently blurring those lines to the point that, by the time the movie ends, the audience doesn’t know what was real and what was fictionalized. There is a lot that goes on within the story that feels like we may be experiencing a fantasy, but then it grounds the audience back down. It truly is refreshing, albeit slightly aggravating, that the audience can never fully understand if it is real or fictional, but it keeps the audience fully engaged, holding onto every word spoken and everything that happens throughout the movie. Rapaport’s direction is sublime here, carefully interweaving memory and current day and blurring the lines between reality and fantasy, bringing the audience on a trip that will surely stick with them.
Al Warren as Father in GODHEAD. Photo courtesy of Fantasia International Film Festival.
Godhead, the second feature from Mark H. Rapaport, proves to be a powerful look into religion, beliefs, and blending reality — one that may push audiences but will always have them fully engaged. With strong direction and a strong script, despite some frustrating yet engaging lack of clarity, the movie hinges on performances from Sarah Coffey (Queens of the Dead; Citizen Weiner), Al Warren (The Drama; Dream Scenario), and Kimball Farley (Queens of the Dead; Hippo), and they’re all incredible in their respective roles. Godhead truly is a genre blending, reality-bending excursion in religious conversations that will stick with audiences long after the credits roll.
Screening during Fantasia International Film Festival 2026.
For more information, head to the official Fantasia International Film Festival Godhead webpage.
Final Score: 3.75 out of 5.
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Categories: In Theaters, Reviews
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