The Brand New Testament

Inside a plain Brussels apartment, Ea, a bright yet restless daughter, endures her father God's petty rule. God is anxious, morally questionable, and odious to his family, turning daily life into a fraught comedy. Ea longs for something more than confinement and routine, and she starts to push back against her father's authority. Their fragile balance begins to unravel, unleashing a blend of ordinary city life with far flung, otherworldly mischief. The film uses this sharp family dynamic to lampoon faith, power, and the idea that a single rebellious voice can disrupt a closed world. The Brussels backdrop grounds the fantasy in familiar details, keeping the satire pointed. Its humor rests in human flaws as much as divine jokes too.

Directed by Jaco Van Dormael from an original concept by Thomas Gunzig, the film features Pili Groyne, Benoît Poelvoorde, Yolande Moreau, Catherine Deneuve, and François Damiens bringing this offbeat fable to life in Brussels and a dynamic Brussels crew behind.

With a budget around 8.7 million dollars, the movie grossed about 15.7 million worldwide, signaling modest but steady returns for a Belgian fantasy comedy that earned attention for its quirky premise and daring humor, gaining a modest but devoted following.

With Pili Groyne as Ea and Benoît Poelvoorde as God, the movie landed a memorable Belgian accent on celestial satire. Its offbeat visuals, brisk tonal shifts, and cheeky take on sacred matters sparked conversations about how religion and family dynamics can collide on screen, influencing European cinema and festival audiences.

Critics gave a mixed to favorable response, noting the film's dry wit and imaginative premise. The work probes themes of authority and rebellion, the burdens of belief, and the absurdities of power, all anchored by strong performances from the cast and a narrative approach, and remains a conversation starter now.