Based on actual transcripts of interviews between FBI analyst Bill Hagmaier and the then-incarcerated Ted Bundy, “No Man of God” resurrects an oft-told serial killer story with fresh blood in the hands of director Amber Sealey. The movie first premiered at the Tribeca Film Festival earlier this year, and now is headed to theaters and on demand platforms on August 27 from RLJE Films. Watch the official trailer for the film below.
Here’s the synopsis: “In 1980, Ted Bundy was sentenced to death by electrocution. In the years that followed, he agreed to disclose the details of his crimes, but only to one man. During the early days of the agency’s criminal profiling unit, FBI analyst Bill Hagmaier met with the incarcerated Ted Bundy in the hopes of understanding the psychology of the serial killer and providing closure for the victim’s families. As Hagmaier delves into Bundy’s dark and twisted mind, a strange and complicated relationship develops that neither man expected.”
The film stirred up some controversy around the time of its Tribeca premiere when “Conversations with a Killer: The Ted Bundy Tapes” director Joe Berlinger accused Sealey of mischaracterizing his own films about the serial killer to drum up attention for her own movie. Berlinger also directed Zac Efron as Bundy in “Extremely Wicked, Shockingly Evil and Vile.”
“Forgive the unsolicited advice, but after reading some of your interviews about your Bundy movie, I feel compelled to tell you that tearing down my work to promote yours is a slippery slope and intellectually dishonest and deeply offensive,” Berlinger wrote in an email shared by Sealey on Instagram.
From Kate Erbland’s IndieWire review of “No Man of God” out of Tribeca: “Spanning the final years of Ted Bundy’s life, ‘No Man of God’ weaves an artful, uneasy picture of the bond that formed between the killer and the man who hoped to simply understand his mindset. The opening credits bill ‘No Man of God’ as ‘inspired by FBI transcripts, recordings, and the recollections of Bill Hagmaier,’ hinting at a film rooted in both fact and emotion, and Sealey seems intent on bridging that gap, even if it means occasionally pulling away from the powerhouse performances at its core.”