Gareth Higgins (garethhiggins.net) is a writer and broadcaster from Belfast, Northern Ireland, who has worked as an academic and activist. He is the author of Cinematic States: America in 50 Movies and How Movies Helped Save My Soul: Finding Spiritual Fingerprints in Culturally Significant Films. He blogs at www.godisnotelsewhere.wordpress.com and co-presents “The Film Talk” podcast with Jett Loe at www.thefilmtalk.com. He is also a Sojourners contributing editor. Originally from Northern Ireland, he lives in Asheville, North Carolina.
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Eight Thoughts About ‘Field of Dreams,’ 30 Years After its Release, by Someone Who's Seen It 23 Times
The promise of Field of Dreams is that when we give ourselves to serving the common good at the place where our “deep gladness and the world’s hunger meet,” as Frederick Buechner writes, we don’t just help advance the healing of the people we touch, we also begin to heal our pain.
The Unlikely Romance and Politics in 'Long Shot'
There are moments in Long Shot, the new comedy in which Charlize Theron and Seth Rogen fall for each other, save the country from dehumanizing polarization, and (maybe) the planet from dehumanized humans, in which I wondered if I was watching something as good as Tootsie. It’s really easy to make a slapstick joke, but really hard to integrate dozens of them into a coherent work (there’s a reason the Marx Brothers don’t have many heirs); and it’s even harder to weave comic tropes into a story that also manages to feel like real life.
'Hail, Satan?' Digs Beneath Religious Freedom Debates
It turns out that The Church of Satan as founded by Anton LaVey was more of a hedonistic club than something to fear, and today’s The Satanic Temple (TST) an entirely distinct organization — an emerging religious community whose tenets are dedicated to compassion, making amends for mistakes, and promoting religious liberty.
Pivoting Between Truth and Avoidance in 'Avengers: Endgame'
It’s rare for large-scale action movies to attempt to meaningfully show the aftermath of destruction; the human realities of both one individual family, and entire nations are conveyed in those opening minutes. It feels … truthful? Alas, after that, Avengers: Endgame spends almost three hours pivoting between giving the truth and avoiding it.
Film’s Decade of Change
WHEN I STARTED writing this column a decade ago, the Oscars were about to address The Dark Knight not being nominated for Best Picture by expanding from five to 10 possible nominees. Only two Marvel Universe movies had been released, iPads didn’t exist, movies were still mostly shot on film, and #MeToo wasn’t known outside activist circles.
Today, as I write my final regular column for the magazine, the expanded nominations system has delivered one of the least plausible Best Picture awards in memory (Green Book), 22 Marvel movies have been released, people make films on iPads, watching cinema on a phone is second nature, and a new era of respect and accountability is dawning in the entertainment industry and elsewhere.
In 'High Life,' Repetition Is a Death Sentence
You don’t have to be in prison to recognize the power dynamics among the characters and how their bored desperation could remind us of what happens when the most emotionally unhealthy habits of mind mingle with the least human technologies. You don’t have to launch into space to find yourself clicking a button over and over and over, the offer of immediate gratification without genuine connection. It’s no wonder that the most psychologically mature astro-prisoner (played by André Benjamin) takes to sleeping in the garden — it’s the closest thing to real.
'Diane' Reveals the Roads We Travel As We Look For Community
What lingers most after seeing Diane, a wise, sad, and beautiful film, and the best reason to go to the movies this week, is the roads. The title character, anchored in an immersive performance by Mary Kay Place, is always driving - from her house to the extended family who josh and complain and hold each other up, from there to the apartment where her son is failing to hide his problems, from there to the deathbed of a dear friend with whom she has a complicated history, from there to the church soup kitchen where she serves.
'Mary Magdalene' Attempts a Deeper Look at the 'Apostle to the Apostles'
In the newest cinematic Mary Magdalene, directed by Garth Davis from a script by Helen Edmundson and Philippa Goslett, Mary isn’t confused at all. I don’t think anyone was expecting a film with that title to appear unironically in 2019; it's also a genuine surprise that it wasn’t made for the Christian market, nor does it aim for the kind of dry, “noble” distance that makes large-scale biblical epics such as Ben-Hur seem like Downton Abbey, upstairs, with sandals. The fact that Mary Magdalene contains decent performances (especially Rooney Mara’s Mary, not a doe-eyed holy innocent, but a leader who finds her voice by speaking), and makes an honest effort at exploring the less familiar parts of one of the most familiar stories in history makes it worth our attention. That attention may even be rewarded by an idea or two. It’s thoughtful, honest, yet not earth-shattering cinema, although it does bring its own revelation.
An Invitation to Change
SOMETHING WONDERFUL is happening in popular cinema: a new psychological depth married to kinetic technique that seems to emerge from filmmakers’ willingness to show their vulnerability. Notice how First Man is far more than a moon landing epic; it’s massively about the heart. Blindspotting takes racism more seriously than it takes itself. And Leave No Trace doesn’t settle for catharsis but invites us to do something in response to the brokenness on screen. There are dozens more films like this.
The psychological depth and open vulnerability of these films are mirrored in the way we talk about movies. It’s easy to find good film criticism that tells us about the writer’s life, and conversation about how cinema interacts with the world is no longer exclusively an elitist game.
But our favorite films don’t just tell us what we think about the world: They tell us something about what we think of ourselves. If what we pay attention to shows us what we love, it may also show us what we allow to love us. It bears exploration: What do our favorite films say about who we are, who we want to be, how we see the world, and what we feel we deserve? What are they inviting us to become?
Rolling With the King
THERE ARE moments in The King—Eugene Jarecki’s ambitious movie about how the rise and decline of Elvis Presley is a metaphor for America—when the film feels like a prophetic lament. Striking widescreen photography frames an original idea: taking the Rolls Royce that Elvis owned on a nationwide road trip, picking up hitchhikers and celebrities alike to talk about what went wrong.
Parts of it are brilliant: Chuck D lamenting how Elvis appropriated black music and ended up being coronated while “Big Mama” Thornton (for whom Leiber and Stoller wrote “Hound Dog”) remained a marginal figure; John Hiatt gently weeping in the back of the Rolls, his heart heavy at how Elvis “was so trapped”; the housekeeper who found Elvis half-dead on the toilet, and the women who live in one of his early homes, briefly centering the stark contrast between a 20th-century king and 21st-century poverty.
It’s brave and imaginative to include footage of Jarecki’s interviewees criticizing him and the film itself. The Wire creator David Simon says it would have been better to use one of Elvis’ Cadillacs—a more apt metaphor for American decline than the car of a British aristocrat. More challenging is Van Jones asking why Jarecki seems to defend a man who took the music of descendants of enslaved people, accrued enormous power for himself, and didn’t speak up when the nation needed public figures to support civil rights.
Goodness and Mercy
WILLEM DAFOE is my favorite onscreen Jesus, and since The Last Temptation of Christ’s release three decades ago, he’s been indelibly associated with that role. His Jesus was a corrective to the over-mysticized versions in epics such as Ben-Hur and The Greatest Story Ever Told, which portray Jesus as a kind of magician instead of a person.
Dafoe’s Jesus (which is also the Jesus of novelist Nikos Kazantzakis and Paul Schrader, who adapted Kazantzakis’ work for the screen) is a serious attempt at grappling with the human questions his story demands. This Jesus is a breathing, sweating, sleeping, dancing, agonizing, raging Jesus: a political Jesus who prefers a donkey to a revolution; a compassionate Jesus who struggles to figure out his own needs amid the burdens of the world; a thinking Jesus who doesn’t emerge from the womb with a fully formed philosophy but learns by experience, scripture, and prayer.
Fictionalized Jesuses are, of course, like any other Jesus: We see all the Jesuses we’ve ever met through the lens of our own experience. The light of Willem Dafoe’s Jesus (not to mention his astonishing portrayal of Vincent van Gogh in the recent masterpiece At Eternity’s Gate) is more useful to me than the “magician” versions because I’m not sure I can learn much from superheroes.
Faith, Justice, and the Best Films of 2018
BEFORE WE GET to the best movies of 2018, let’s talk about the most memorable moments of this year in cinema. Neil Armstrong casting his daughter’s bracelet into a canyon on the moon in First Man, a story as much about one person’s grief and desire to connect with another as about our species’ ambition and desire to conquer the final frontier.
The dawning realization, in What They Had, of why Robert Forster steps out of the bedroom he has shared with Blythe Danner for 60 years, sparing her more suffering and loving her until the end.
A deceptively simple scene—a conversation in a car going from one neighborhood to another—that’s a revelation of social inequality and how near yet far we live from each other. In minutes, Widows covers centuries of relationships of power.
An unexpected funeral in The Gospel of Eureka that breaks the audience’s heart and calls forth our loves.
And the titular character Christopher Robin, who holds Pooh Bear’s hand as they walk through a field, as though Terrence Malick is directing the film.
Moving Beyond Mainstream
WHEN A FILM seems ahead of its time, it’s because its artists are like time travelers, bringing information from the future to illuminate our present. Ideas that lack mainstream consensus (for instance, restorative justice, gift economies, and the flourishing of previously silenced voices in central leadership roles) can manifest in filmmakers’ storytelling as though they are already reality. We leave the theater wishing the world was more like what we were shown. In the future, we may watch the same film and remember how strange it was when the world was different.
Two recent movies that are this kind of prophetic couldn’t be more different from each other in tone but have the same intent: to say something truthful about women who suffer.
There's a Cost to Wandering
IN THE FILM BLAZE, directed by actor Ethan Hawke, happiness is rare and meaning always seems slightly out of reach, just around the corner. An unconventional, compelling biopic of Blaze Foley, a country musician who died too young, and violently, Blaze is a challenging alternative to familiar rags-to-riches tales. It’s rags-to-slightly-more-fashionable-rags, where the loneliness of the road is never salved by the acclaim of a crowd, the price of art being the very life of the artist.
As a movie about the pain of making music, it’s up there with Tender Mercies, Coal Miner’s Daughter, and Dreamgirls. As a biopic it gets closer to the inner life of its subject than most—Ben Dickey’s hypnotic lead performance embodies the drive to write, to sing, to perform, even if no one’s watching. “He knew the value of zero,” says iconic songwriter Townes van Zandt in the film. Van Zandt is played by Charlie Sexton, one of van Zandt’s cultural heirs and a frequent member of Bob Dylan’s band. The value of zero here is the notion that what we’re most called to in life is authenticity, whatever the reward.
Sacrificed by Society
A TRAUMATIZED Iraq War veteran and Oscar Wilde don’t immediately invite comparison, but in two current films they could be scapegoated brothers. The Happy Prince, a labor of love for its writer-director-star Rupert Everett, and Leave No Trace, director and co-writer Debra Granik’s first fiction feature since Winter’s Bone, are both about men in a wilderness, not because they have done anything wrong but because the dominant culture doesn’t want to see them. And I mean truly see them—especially the way they may remind us of discomfort with ourselves.
In Leave No Trace, Ben Foster’s Will has given mind and body for his country and wants to live where he feels safest—in the woods. He handles himself and keeps his daughter (the brilliant Thomasin McKenzie) physically safe, emotionally healthy, and growing in knowledge of the world, but because he doesn’t care for the “system” that harmed him, he must hide or jump through hoops to prove he’s as good as anyone else.
Everett’s Oscar Wilde, in The Happy Prince, is trying to make a life after being imprisoned for love. The first prison was the love itself, love made torment by bigotry; the second a literal jail. He’s broke and broken. He doesn’t always treat others well, but aches to grant the world what he can: amusement at ourselves mingled with compassion for those living “in the gutter,” whether or not they can see the stars. These beautiful films offer hope without cliché, recognizing that our experience of tragedy always coexists with love.
A Dialogue Within
THERE’S A bluish light on the beach in The Piano, Jane Campion’s 1993 film about a woman mute by trauma-induced choice, sold from Scotland into an unwanted marriage in New Zealand, who deepens the roots of her soul and expands her reach into the air and the people around her. The same light is in the misty forest where her confused patron and eventual lover lives; but in her husband’s home, it is dark.
I remembered The Piano as an unusual Victorian romance, but watching it recently, in a restored version that accentuates the exquisite strangeness of its images and ideas, opened a forgotten room in my mind. The Piano functions as a love story that could happen “here”—a character liberates herself from oppression, claims her space in the world, and learns to love herself. But it also deals with mythic reality. Love, hate, power, healing, purpose, Being itself. Things I had not noticed the first time.
It’s often this way when we watch films from the past—we remember who we were, which of course is only ever who we thought ourselves to be; we compare with who we think ourselves to be now. A dialogue ensues between the younger and older selves. A movie that we then experienced as a masterpiece now seems clichéd, or one we did not “get” the first time around now manifests as the film we’ve been waiting for all our lives. We weren’t ready before. Sometimes what we need most is to be reminded that the wonder we used to experience might be even more true than the skepticism that now burdens us.
A Buddy Movie Goes Deep
LIFELONG FRIENDSHIP is paradoxical. The person who knows you best can also cause the most pain. Another layer of complexity emerges when one party wants to change their life while the other remains fixed on how things used to be. Spend an evening with high school buddies who haven’t seen each other for 20 years, and you’ll see that unresolved parts of our character tend to appear when old friendships spark off each other.
The utterly thrilling Blindspotting, a likely candidate for both the best and most important film of the year, dramatizes friendship as central to being human, with the unresolved dimensions of wider social relationships the main challenge we face to be happy in this life and to have a life at all. It’s a brilliant examination of one of the smallest facts of life—boy meets boy—and one of the largest: Since your people persecuted my people, how can we ever become the same people?
The plot is simple: A guy has three days before his probation ends, so he must avoid even the hint of trouble. It doesn’t work out, of course.
The Power of Kindness
THE NEW DOCUMENTARY about the life of beloved children’s television host Fred Rogers, Won’t You Be My Neighbor?, is not merely a nostalgia trip. It stirs more than fond memories: a collective hope that we might discover our kinder selves. Fred Rogers made kindness look easy.
Some folks are skeptical—they remember Mister Rogers as nice, but not brilliant, sweet, but not powerful. Directed by Morgan Neville, Won’t You Be My Neighbor? reveals Fred Rogers as an activist for the common good—a singular figure who cared enough about people to give them what they needed, even if they didn’t know to want it. Footage from 1969 of Rogers testifying to a U.S. Senate subcommittee poised to reduce public television funding—melting the heart of a previously resistant senator—isn’t just a heartstring-pulling moment of grace but shows how speaking truth to the powers can sometimes convert them.
Memories That Heal
CONJURING THE VIEW on a mountain hike, the beloved Americana musician David Wilcox sings “Some things you can’t unsee.” The first time I heard the song, I was struck by the surprise: It’s not just the painful, traumatic interruptions that stay with us. The exquisite, tender, spectacular ones can become permanently intertwined with our more practical thoughts, a backdrop for memory, musing about the future, or just living in the ordinary moments of day-to-day living. The magnificent bonus is that traumatic memories can be healed by reframing them with images and thoughts that empower us beyond victimhood.
Some movies, too, sear themselves into the mind. The memory of a scene and the feelings it aroused may become interwoven. It can be difficult to tell the difference between the movie we saw and whatever was going on in our lives at the time. Sometimes the scene is distressing, but other times it is like an old friend or mentor we can visit for comfort, advice, or a reminder of something useful we had forgotten.
I experienced this recently with the new restoration of Women in Love, the 1969 adaptation of D.H. Lawrence’s novel about four people trying and failing to tell each other how they feel and what they need.
A GRIZZLED LAW enforcement officer, days from retirement, looking for one last challenge. A team of bank robbers, one with noble(ish) motivation, the other psychopathic. Great American vistas to enforce the notion that what we’re watching is Important. So far, so clichéd.
But Hell or High Water, Taylor Sheridan’s script directed by David Mackenzie, brilliantly transcends such hokum in favor of utterly honest dialogue, a plausible plot, and real settings. The drama, as embodied in career-highlight performances from its leads, takes on an almost-Shakespearean gravity. Two brothers steal from a bank that’s been stealing from them. People get hurt, but they were hurting already, so who cares? And the Old Man of the West experiences the lack of resolution that may result from even the most dogged pursuit.
Marcus (Jeff Bridges) and Alberto (Gil Birmingham), Texas Rangers chasing bad guys, have known each other for years. Marcus ignorantly throws racial insults at Alberto, believing them to be affectionate, while Alberto quietly winces. The memory of land theft and genocide is in Alberto’s bones, his half-Mexican, half-Comanche personhood betrayed by the forebears of the very authority he seeks to uphold.
Meanwhile, Toby (Chris Pine) and Tanner (Ben Foster) rob branches of the bank that’s been trying to manipulate their family. Like all families, it’s a family with secrets, but the lack of healthy community bonds has allowed those secrets to wreak havoc on the lives of its members. There’s no support for moving beyond the trauma of a violent upbringing, just resignation to things as they are and belief that maybe a bit of money could get them out of it. A bleak Texas standing in for a bleak America, one in which the aching desire to connect is buried under economic desperation and get-rich-quick schemes. Even the church is in on it—a televangelist merely replicates the system of social inequality and betrayal of trust. People need help, but no one shows them how to ask for it.