Lawrence Garcia’s review published on Letterboxd:
About as connected to The Divine Comedy as Leviathan (2012) is connected to its epigraph, taken from the Book of Job—i.e. as a textual primer for its visual organization. Visions of hell and glimpses of paradise abound; a "shattered earth" is glimpsed in fragmented frames; but it's the ghost cities that linger, both the cause and the question. Not opposed to didacticism or (environmental-leaning) indictment, especially when the images—the screen of red is particularly striking—are this gorgeously conceived (cf. Koyaanisqatsi). But apart from the Dante invocation, there isn't much of a progression or shape (cf. The Iron Ministry); or maybe the shape just isn't very interesting. But in brief, inspired moments, it's mind- and world-expanding stuff.