The release of Kevin Smith’s fourth film, Dogma, in 1999 was met with protests and picket lines, due to its exploration of religion in general, and of Catholicism in particular. Predictably, many of these protests were sparked by the mere idea of the movie, before it had even been seen. Its arrival in cinemas revealed a fascinating and remarkable piece of work, however. Rather than being a cynical criticism or takedown of organised religion or the Catholic Church, it presents a perspective on the subject that is borne of experience and intimate knowledge. The end result is a love letter and sincere appeal to humanity, tinged with frustration at its natural inclination to idolatry, in all forms.

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