"I've been having anxiety attacks about what I'm trying to say with this film" Peter Rodger says, declaring his doubt loudly, like most everything else in his film. An opening montage of rituals, routines and earthly wonders introduces a frequently asked question: "What is God?" What follows is Rodger's personal, big-soundtracked pursuit of answers. He travels hither and yon, speaking with a born-again gun-seller in Amarillo, a Druid, a Buddhist healer, Mexican priests, Tibetan monks and Princess Michael of Kent ("I was caught very early by Jesuits"). Pondering the various efforts to understand, concoct or worship God, Rodger uses the film as a kind of catalogue of experiences: After a visit to the Gaza Strip, Rodger announces, "I feel kind of good here, with my Massai wristband, my Sikh bangles, in the Palestinian territories, having interviewed a Jewish rabbi." He interviews David Copperfield, (who speaks to the "magic" of religion, sort of) and, on the set of Australia (as opposed to just Australia), Hugh Jackman ("If you're really listening, it's the space between words") and Baz Luhrmann ("Religion is really man's attempt at communicating with God"). With so many responses ranging from prosaic to pretentious, Bob Geldof's upfront resistance to the project ("You asked me to do this film") is perversely refreshing: "The mystery of faith is mysterious because it makes no fucking sense. Why are you looking for a reason?" —Cindy Fuchs

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