In a striking yet emotionally distant cinematic venture, Dara Van Dusen’s debut film, *A Prayer for the Dying*, makes its mark at the Berlin Film Festival 2026. Featuring notable performances from Johnny Flynn and John C. Reilly, this adaptation of Stewart O’Nan’s novel transports audiences to a troubled frontier town in 1870s Wisconsin, where the spectre of disease looms large. Despite its visual flair, the narrative struggles to deliver the emotional weight it promises, leaving viewers yearning for a deeper connection.
A Gloomy Frontier Town
Set against the backdrop of post-Civil War America, the film introduces us to Jacob (Flynn), a man burdened by his past as both sheriff and pastor, though he eschews the trappings of either role. Living with his wife, Marta (Kristine Kujath Thorp), and their young child, Jacob grapples with the town’s mistrust stemming from his Norwegian heritage. The discovery of a dead drifter, still in uniform and carrying the weight of the war on his shoulders, acts as a catalyst for the unfolding drama.
The town’s doctor, played with gravitas by Reilly, is horrified to discover that the drifter succumbed to diphtheria. As the body is examined in an unhygienic setting—his parlour—the threat of a catastrophic epidemic becomes imminent. With fear gripping the community, the townsfolk are torn between declaring an unenforceable quarantine or opting for a secretive approach to manage the outbreak.
The Dilemma of Leadership
As the tension mounts, Jacob’s struggle to impose authority reveals the fragility of his leadership. Scenes of horror escalate as news of a spreading wildfire adds an unsettling visual element, casting an eerie red glow over the town. This glow serves as a metaphorical representation of Jacob’s psychological turmoil, leaving audiences questioning whether he is immune to the disease or perhaps a carrier himself.
Reilly’s portrayal of the concerned doctor is commendable, infusing the character with sympathy and depth. Meanwhile, Flynn delivers a performance that, while compelling, could have benefitted from a more nuanced direction to elicit the profound anguish that the narrative demands. The film’s high production values and striking imagery, though commendable, ultimately fail to compensate for its lack of emotional resonance.
An Artistic but Uneven Experience
Visually, *A Prayer for the Dying* is impressive, showcasing Van Dusen’s talent for creating a haunting atmosphere. However, the film often feels like a short story stretched to feature length, with its poignant moments not fully realised through sustained storytelling. The narrative’s disconnection from the emotional truths it seeks to explore leaves audiences wanting for a deeper engagement with the characters and their plight.
Despite the film’s technical achievements, the emotional stakes seem underdeveloped, resulting in a viewing experience that feels more akin to an exercise in visual storytelling than a fully realised narrative. The ambitious themes of disease, leadership, and community resilience are present but remain largely unexplored.
Why it Matters
*A Prayer for the Dying* challenges viewers to reflect on the complexities of leadership during crises and the human capacity for resilience in the face of adversity. While the film showcases the potential of its talented cast and striking visuals, its inability to forge a meaningful emotional connection ultimately detracts from its overall impact. In an era where stories of survival and community are more relevant than ever, this film serves as a reminder that even the most visually captivating narratives must find a way to resonate with the human experience at their core.
