Most reviews praising _First Reformed_ have labeled it Paul Schrader's finest work since _Taxi Driver_ (1976) or _Raging Bull_ (1980). While that might be an oversimplification, overlooking strong screenplays like _The Last Temptation of Christ_ (1988) and _Bringing Out the Dead_ (1999), as well as superb directorial efforts such as _Affliction_ (1997) and _Auto Focus_ (2002), there's no denying that *First Reformed* is easily his best film in the last fifteen years, especially when considering films like _The Canyons_ (2013), _Dying of the Light_ (2014), and _Dog Eat Dog_ (2016). The film tells a deceptively simple story: Reverend Ernst Toller (Ethan Hawke) serves as priest for a small congregation in suburban New York. A former military chaplain, he’s struggling with his son's death – Joseph enlisted at Toller’s urging and died months into his first tour in Iraq – which led to the dissolution of his marriage. As the film begins, Toller's spiritual crisis is already underway; he’s drinking heavily, uninterested in his duties, seemingly unconcerned that his congregation has shrunk to a handful of people, and keeping a journal intended for destruction after a year. He’s approached by Mary (Amanda Seyfried), who worries about her husband, Michael (Philip Ettinger). A radical environmentalist recently released from prison in Canada, Michael wants Mary to abort their unborn child because he believes no one should bring a child into a dying world. Initially hesitant, Mary persuades Toller to counsel him. Simultaneously, the 250th anniversary of First Reformed church is approaching, with plans for a large service attended by both the governor and mayor. The initial plot summary covers roughly the first twenty minutes or so, leading up to what seems like a narrative focused on Toller helping Michael change his extreme views. However, the film instead concentrates on Toller's own declining faith and evolving nihilism. It introduces three supporting characters: Reverend Joel Jeffers (Cedric Antonio Kyles) of Abundant Life, the megachurch that owns First Reformed; Esther (Victoria Hill), the choir director who had a past affair with Toller; and Edward Balq (Michael Gaston), an industrialist whose company is among the worst polluters. As Toller grapples with his conscience, he clashes with each in different ways. Mary remains a source of hope for him as they grow closer. One striking element is the film’s use of Academy ratio (1.37:1), creating a boxed-in feel that suggests limited space and movement. Coupled with Schrader's consistent symmetrical compositions, it evokes the atmosphere of a confessional. Toller’s journal entries, read as voiceover throughout the film, further reinforce this sense of confession – though Toller is not the priest hearing confessions, he is confessing himself. In line with this, _First Reformed_ isn’t an easy watch. Its central themes are suffering, loss of faith, nihilism, and environmental catastrophe, and the filmmaking style, combined with the intimacy of the journal entries, draws the audience into Toller's world and mind. Schrader weaves content and form together so seamlessly that they become nearly indistinguishable—a feat few filmmakers achieve. Interestingly, this is the second film in twelve months to use Academy ratio for narrative purposes; the other being David Lowery’s _A Ghost Story_ (2017). Schrader has a vast knowledge of cinema and doesn't work in isolation – there are at least three visual references to

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