Comparable to Gordon Parks’s revelatory photography, Zeshawn Ali’s feature debut is a stunning evocation of its irrepressible subjects. Hanif, one of the documentary’s main figures, is a middle-aged Black Muslim in East Orange, New Jersey, who works at a funeral home, building caskets and assisting in the washing of dead bodies per Islamic tradition; he also serves as a mentor to two boys, preteen Furquan and teenage Naz. All three face their own struggles: Hanif previously sold drugs and spent time in prison, while Furquan is subject to abuse at home and Naz deals with ongoing legal troubles. Intermittently Ali returns to sequences depicting the Muslim burial practices, wherein the cleasing property of water is emphasized; death is ever present throughout, both literally via such scenes and less so as the film incorporates references to violence in the subjects’ community. Like Hanif, Naz is Muslim, while Furquan is Christian, hence the two gods of the film’s title. Ali (who’s Muslim himself) handles the disparate theologies belletristically; the film is less about religion than how religion manifests itself in peoples’ lives. The unalloyed black-and-white cinematography recalls the photographs of artists like Parks who went into underrepresented communities and revealed the beauty within, when much other media focuses on the less savory aspects of life in those neighborhoods. Through a coalescence of off-the-cuff scenes and stylized, rhapsodic passages (the latter heightened by Michael Beharie’s airy score), Ali creates a singular document of three ordinary—in the process rendering them extraordinary—lives.