Abby Olcese

IN HER POEM “Flare,” Mary Oliver writes about grief and the relationship between memory and reality, especially when it comes to parents. She writes: “My mother / was the blue wisteria, / my mother / was the mossy stream out behind the house, / my mother, alas, alas, / did not always love her life, / heavier than iron it was / as she carried it in her arms, from room to room.”

Our relationships with parents are shaped by our memories, what parents tell us about their lives, and what we come to understand about them. The Bible tells us to honor our father and mother, but we can never do that perfectly because we never fully know them. This becomes more poignant when those who raised us are no longer around.

Like Oliver’s poem, Joanna Hogg’s The Eternal Daughter (available on video on demand) captures this liminal, lonely feeling in an intensely personal way. Hogg’s semi-autobiographical film is a ghost story about memory, family, and the pull between the stories we know, the ones we don’t, and unresolved ways they differ.

Here’s the setup: A shadowy biotech conglomerate and a cabal of satanists (gasp!) are planning to release Lucifer from hell by… wait for it… stealing the linen cloth used to cover Christ’s body during his entombment, using it to clone Christ’s DNA, and then implanting it into a surrogate mother, allowing Lucifer to possess the fetus. The Devil Conspiracy is like a mix of Rosemary’s Baby, Demon Seed, and the surrogacy mix-up romcom The Switch.

EMILY (AUBREY PLAZA) is caught in a vicious catch-22. She’s in deep student debt, but a criminal infraction keeps her from getting a job to pay down her balance. Emily’s stuck working catering gigs, and what little money she can set aside goes to her loan interest, practically ensuring she’ll never be able to get her head above water.

When a co-worker offers her a chance to make some extra cash, Emily jumps at the opportunity. It may be highly illegal, but what other choice does she have?

Writer/director John Patton Ford’s Emily the Criminal is a millennial version of classic gangster noir, with Plaza’s Emily drawn deeper into a criminal underworld where fast payout overrules ethics. Ford’s film never glamorizes Emily’s experiences, instead showing us a desperate person fed up with a world that gives her virtually no other choice but to break the law to survive.

WHEN REVIEWING FILMS, especially from a faith-based angle, it’s natural to look for concrete messages. Most mainstream films tell three-act stories, and those typically include a tidy resolution that presents a perspective or moral. But film is also an art form, and great art is more interested in creating atmosphere and asking questions than providing answers—not unlike faith, which teaches us to pose unanswerable questions and to sit with uncertainty.

For those who like tidy narratives, filmmaker Alex Garland’s work can be frustrating. Garland’s films are concerned with big concepts, many related to the characters’ desire for control at the expense of their humanity and others’ lives. However, his films rarely answer the questions they pose, leaving room for viewer interpretation. For audiences willing to engage with art that lives in an in-between place, this can be a thrilling, sometimes visceral, experience.

Garland’s latest film, Men, is his most tonally upsetting and his most abstruse. In it, Harper (Jessie Buckley) rents a country manor as a space to emotionally recover from the violent death—a possible suicide—of her husband, James (Paapa Essiedu). Her idyllic solitude is disrupted by a series of men (all played by Rory Kinnear) who threaten her emotionally, psychologically, and physically. The men appear in various forms, including a patronizing older man, a vulgar child, a manipulative vicar, a macho policeman, and a naked, silent stalker.

The concept itself is clear; Men is about the act of male intrusion on the lives of women. But it’s the way the movie communicates the theme that creates questions Garland would rather ask than answer.

IN A 2001 lecture titled “Devotional Cinema,” filmmaker and film editor Nathaniel Dorsky broadly described devotional practice as “the interruption that allows us to experience what is hidden and to accept with our hearts our given situation.” Dorsky connected this definition to the experience of watching a movie, claiming, “It is alive as a devotional form,” allowing viewers to uncover truths about themselves and the world by watching someone else’s story. A movie doesn’t have to be experimental art, a heavy drama, or a religious epic to be a devotional experience. Often, the most profound stories are about the subtle changes of the soul over time and the experiences and relationships that define a person. We relate to them because, like a devotional practice, they help us reflect on our own lives and consider how we live in relation to others.

Joachim Trier’s The Worst Person in the World is one such film, following its protagonist, Julie (Renate Reinsve), from her late 20s to her early 30s. Trier places Julie as the main character of her own story, narrated to us as she lives it, changing careers, falling in love, breaking up, experiencing loss, and becoming wiser and more comfortable with herself as a result.

OVER THE LAST year we’ve had to reconsider our definition of what makes a “sacred space.” When churches and temples closed due to the pandemic, our homes became places of worship for many of us.

This cemented what’s always been true: Sacred space is a fluid thing. It can be a place of deep personal meaning or shared memories with people we care about. A sacred space doesn’t even need to be a physical location. It could also be the spiritual space created whenever we’re with those we love or remember people we’ve lost.

Céline Sciamma’s tender film Petite Maman speaks to this. A little girl, Nelly (Joséphine Sanz) and her mother, Marion (Nina Meurisse), grieve the death of Marion’s mother and clean out Marion’s childhood home. Sciamma’s movie becomes a meditation on everyday sacred spaces, including those that can exist within mother-daughter relationships.

A biopic about Tammy Faye Messner, better known as Tammy Faye Bakker, is ripe for caricature. That face, covered with a rainbow of lipstick, eyeliner, and mascara. That voice, with its exaggerated Upper Midwest accent. Those televangelism broadcasts, where puppet shows and hymns were followed by direct pleas for money from Tammy Faye and her first husband, Jim Bakker. She’s an easy figure to ridicule. But The Eyes of Tammy Faye, a new biopic that shares its name with Fenton Bailey and Randy Barbato’s 2000 documentary, blessedly avoids this trap.

WHEN AUTHOR AND film critic Sarah Welch-Larson was growing up, she wasn’t a horror movie fan. That started to change when, as a teenager, she had a fateful encounter with the James Cameron film Aliens on cable TV.

The movie’s hero, Ellen Ripley, played by Sigourney Weaver, “looked a lot like my mom and had a lot of the attitudes my mom has about some things,” Welch-Larson, who writes about faith and popular culture for the online publications Think Christian and Bright Wall/Dark Room, told Sojourners. “I was captivated by that character.” Two weeks later, Welch-Larson watched the first 1979 Alien movie, directed by Ridley Scott. It frightened her and she couldn’t get it out of her head.

Eventually Welch-Larson’s interest grew into a fascination with the series as a whole. Her new book, Becoming Alien: The Beginning and End of Evil in Science Fiction’s Most Idiosyncratic Film Franchise, looks at recurring themes of evil, greed, and destruction in the Alien films through the lens of theologian Catherine Keller’s 2002 book, The Face of the Deep: A Theology of Becoming, in which Keller examines the first two verses of Genesis.

“She writes a lot about God setting everything into relationship with each other. God’s saying there’s a relationship you have with the rest of the world and with other created beings around you,” Welch-Larson explains. “Once you start to deny those relationships, you’re saying they’re not as important as what God has created you to be, and Keller says that’s the source of evil.”

THE LAST CHAPTER of Hebrews in the New Testament begins with a reminder of how to serve God and build a healthy community: “Do not neglect to show hospitality to strangers, for by doing that some have entertained angels without knowing it” (13:2). Biblical hospitality takes many forms, but it consistently involves selfless sharing of space, resources, and—perhaps most importantly—attention. To share part of your life with another person, and allow them to share in return, is to show that they matter.

Nomadland, Chloé Zhao’s contemporary American road film, is full of biblical hospitality. By turning a documentary-style eye on a real community of nomads who otherwise slip through the cracks of society, writer and director Zhao’s film—which won 2021 Golden Globes for best motion picture and best director—provides its actors/subjects with space to be seen, heard, and known.

Like The Rider, Zhao’s previous film, Nomadland combines elements of narrative and documentary filmmaking by crafting a story around the lived experiences of real people. Our guide, Fern (Frances McDormand), leaves her home in Empire, Nev., to live on the road. Fern is part of a subculture of older adults who, left in dire financial straits by the 2008 recession, live in vans as modern-day nomads, picking up gig work across the country. As Fern travels, she makes friends with several fellow nomads (most of them real people playing themselves) who share their stories with her.