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My God, My God, Why Hast Thou Forsaken Me?
Movie

My God, My God, Why Hast Thou Forsaken Me?

2005 • Unknown

Woke Score
2
out of 10

Plot

A.D. 2015: A virus has been spreading in many cities worldwide. It is a suicidal disease and the virus is infected by pictures. People, once infected, come down with the disease, which leads to death. They have no way of fighting against this infection filled with fear and despair. The media calls the disease the "Lemming Syndrome".

Overall Series Review

This is a 2005 Japanese art-house film focused on an apocalyptic, despair-inducing virus called the 'Lemming Syndrome.' The narrative follows two male noise musicians whose atonal, pure sound is believed to be the only antidote to the suicidal disease. The film is a slow, philosophical meditation on existential dread, the power of art, and the search for a cure in a world decimated by hopelessness. The core conflict is a universal struggle against despair, not a socio-political critique based on identity markers. The movie’s primary focus is the metaphysical condition of humanity in the face of spiritual and emotional vacuum. Its themes are highly abstract, centered on the redemptive quality of raw, non-commercialized artistic expression rather than political or social grievances. The casting is culturally and historically authentic to the film's setting. The narrative structure is focused on a journey to save a single individual with transcendent music, positioning it far outside of contemporary Western political discourse.

Categorical Breakdown

Identity Politics2/10

The plot centers on a universal virus and the unique merit of two male musicians' art as a potential cure. Characters are defined by their creative ability and their psychological state of despair or hope, not by their race or immutable characteristics. The film is a Japanese production, and the all-Japanese casting is authentic to the story's cultural setting, avoiding any forced diversity or race-swapping.

Oikophobia2/10

The setting is a world ravaged by a global, psychological plague. The musicians live in isolation, having fled the 'corrupt and dangerous city,' which acts as a critique of modern urban/commercial life in general. It does not demonize a specific national or cultural heritage; instead, it valorizes the musicians' unique, pure artistic form as a shield against global chaos, suggesting a source of higher cultural value.

Feminism2/10

The main protagonists are male musicians whose masculine effort is directed toward saving a young, infected female character. The narrative does not feature a 'Girl Boss' trope or the emasculation of men. The men's specialized artistic ability makes them the necessary saviors. There is no messaging related to anti-natalism or the denigration of traditional gender roles.

LGBTQ+1/10

The story is entirely concerned with a viral pandemic, despair, and the redemptive power of sound. No characters or subplots center on alternative sexualities, gender ideology, or the deconstruction of the nuclear family. Sexuality remains a private matter and is not a thematic focus of the public crisis.

Anti-Theism3/10

The film’s title is a direct citation of the biblical cry of abandonment, acknowledging a central spiritual question. The plot explores an existential 'spiritual vacuum' (despair, suicide virus) but the solution is found in 'pure sound'—art that takes on a transcendent, almost salvific quality. While traditional religion is absent as a direct source of strength, it is not actively vilified; the narrative focuses on the search for objective meaning and a higher truth (music) in a forsaken world.