"Lot in Sodom" starts out with a palindrome involving an imagination of Sodom that premeditates both of Kenneth Anger's later works "Inaugeration of the Pleasure Dome" and "Fireworks". It's a description of sin and pleasure with a heavy dark side, slightly feverish in mentality and burdened down (purposefully) by kaleidoscopic imagery and multiple exposures and cuts. After the mirrored tale, we're introduced to Lot and his family, and the movie actually becomes one of the more narrative avant-garde films I've ever seen.<br /><br />The makers of "Lot in Sodom" did a very good job in mixing together both the experimental side of the still relatively new medium and iconographic imagery. Weird abstract editing style matches Christian icons and symbolism, and a well-known Christian story is told via intertitles AND sound (a pretty good mix of the two, if I may say so myself).<br /><br />The movie itself is somewhat effective at presenting its themes, but it's true power as an experimental work resides always in its imagery. The images of fire raining from the sky are actually uncannily accurate to the type of ways God's wrath is described in these sources, and the woman turning into a pillar of salt is a resounding moment of special effects... even if it is just double-exposure and really good choreography. I think if ever a movie makes a good argument for the potential of cinema, "Lot in Sodom" is a good film to turn to because it so well manifests an understood story in a whole new form very different from what we accept as generic narrative form today.<br /><br />--PolarisDiB