The Book of Revelation is a 2006 Australian arthouse film directed by Ana Kokkinos and starring Tom Long, Greta Scacchi, Colin Friels, and Anna Torv.

They proceed to hold him in an abandoned warehouse for about two weeks, mutilating him sexually and using him for their own physical and psychological gratification, before dumping him blindfolded from a car near his home.

However, the initially planned final week of shooting was delayed four months due to lead actor, Tom Long, breaking his ankle on set.

[3] In conjunction with the shifting city-scape, Kokkinos elected to employ blackouts as transition shots to emphasise Daniel's emotional isolation that proceeds his rape.

[2] Colin Friels, who plays Olsen, was drawn to the script due to Kokkinos' reputation for being meticulous in her preparation and emphasis on rehearsing for perfection.

[2] Bridget, who is played by Anna Torv, was cast as a foil character to Julie, who is self-absorbed in dance, yet fails to extend that passion into other areas of her life.

Academics, Kelly McWilliam and Sharon Bickle note that this type of film follows a three part structure which firstly features the rape of the protagonist, followed by their recovery where they take on the role of the avenger, and then the third phase where they pursue the act of revenge.

Mcwilliam and Bickle argue that the gendered norms are emphasised to the audience during Daniels forced masturbation scene as he "reasserts his subjectivity by telling the women 'when a man fucks a woman, no matter how beautiful she is, whenever he closes his eyes he always thinks of himself'.

In terms of the rape-revenge genre, Kokkinos' text denies the role of revenge as a form of return or reinstatement of the status quo: instead, the outcome of rape is a rolling state of trauma".

Kelly McWilliam and Sharon Bickle point out that language in the film is representative of Daniel's uncertain relationship with the other female characters, including his attackers.

As this section of the New Testament depicts the second coming of Christ and describes an armageddon-like vision of death, it has been suggested that Daniel's struggle to maintain control over his body, and the power of rape to bring about devastation, echoes the apocalyptic nature of the biblical chapter.

Furthermore, she claims that Daniels' inability to articulate his feelings means the audience is reliant on his body language to express his emotional status and therefore deducts from the overall message of the film.

He however notes, the soundtrack composed by Cezary Biszewski in conjunction with Meryl Tankard's choreography contributes to the authenticity of the setting and poignant atmosphere.

[11] Film critic Megan Lehmann similarly posits the scene that contains sodomy fails to capture the subject of rape-revenge in an authentic manner and is more reflective of soft-core porn.

She further criticises Kokkinos' reliance on the gender role reversal and the subplot of Scacchi's character, claiming that the film would have been improved had it focused on the aftermath of the trauma.