Polley’s theater family has kept a rumor for years that Sarah’s dad may not be her biological father. Nagged by persistent jokes about her striking non-resemblance to the rest of the family, and unable to ask her long-since deceased mother, Polley sets out to put the record, and her family’s memories, straight.
There’s much to love here, and what immediately distinguishes Stories is the openness — both uncomfortable and endearing — with which Polley invites the audience to see the intimate process of art-making.
In short, we see a family — recognizable, ordinary, and still very much in the process of living — grappling with what it means to be suddenly be subjects in an intimate story no longer their own.
A Dog Walks into a Nursing Home: Lessons in the Good Life from an Unlikely Teacher by Sue Halpern / Kinship Across Borders: A Christian Ethic of Immigration by Kristin E. Heyer / Skipping Stones / In the Footprints of Francis and the Sultan: A Model for Peacemaking
Paranorman, the stop-motion animated feature by Laika Studios just came out on Netflix instant download, so we decided to watch it for our family movie night. It's a fun film, perhaps a bit too scary for the little ones, but what really stood out for me was the surprisingly deep morality in this little film. This comes in an unlikely package since the film is about zombies and witches. Not surprisingly, if you look for Christian reviews of the film you will see many focus on warnings to stay way from the occult. Sadly, this response misses the profoundly deep moral message behind this film — one that confronts religious violence, and instead promotes a message of redemption and forgiveness. That's quite a bit of insight for a cartoon!
The premise of Paranorman is that the town of Blithe Hollow (not coincidentally set in Massachusetts, as we will see later) is about to be overrun by zombies because of the curse of an evil witch. Only Norman Babcock, an odd boy who can speak to the dead, can save the day. The movie begins by having us get to know Norman, who is emotionally isolated because his family does not understand him, and his peers ostracize and ridicule him as a "freak" at school. The only person who believes Norman is his friend Neil Downe, and overweight boy who is himself bullied.
The town is in peril because three centuries ago, an evil witch was executed, and in revenge put a curse on puritan judge and her accusers, cursing them to rise from the grave as zombies. So each year the curse of the witch must be appeased by reading from a mysterious book at the grave of the witch in order to prevent a zombie apocalypse. But this year that does not happen, and the zombies overrun the town. The townspeople and local police form the typical Frankenstein mob, complete with pitchforks and shotguns to kill the zombies. As the mob mentality grows, Norman and his motley band are threatened by the mob as well.
This is the first point where we see the film’s unmasking of "virtuous" violence: in the logic of many films, so long as someone is a "monster" or an "alien," it is okay to kill them. So we have no problem with watching mass killings of monsters or aliens in movies because ... well ... they're monsters. So you're supposed to kill them. That's what good guys do in movies. This is the unquestioned plot of hundreds of movies. As long as the Storm Troopers in Star Wars are faceless, we don't bat an eye when Luke kills one after the other. They have been dehumanized, and so it's okay to kill them all. The same is true for the Orks in Lord of the Rings, or the witch and her minions in the Chronicles of Narnia.
The last Terrence Malick film I went to see was Tree of Life, in which the critically acclaimed director — and devout Christian — advised audiences to “experience [the film] like a walk in the countryside. You’ll probably be bored or have other things in mind, but perhaps you will be struck, suddenly, by a feeling, by an act, by a unique portrait of nature.” Needless to say, the film was long — extremely beautiful, but a wee bit slow.
So you can imagine the shock I felt when Malick’s latest film, To the Wonder, abruptly ended after almost two hours and I thought to myself, “Wait, it’s already over?”
To the Wonder is certainly different from its immediate predecessor in Malick’s catalogue — there aren’t any dinosaurs in his latest effort. But it does still manage to have both the look and feel of a Malick film (i.e., it intersperses a linear story with lots of fluid, beautiful cinematography shot during “magic hour” with voice overs asking deep questions), albeit one that doesn’t drift off into long montages of the creation of the universe with voiceovers almost lifted from the book of Job.
A new film about Jackie Robinson, titled “42″ — the number he wore during his historic career — tells the triumphant story of how the Civil Rights icon integrated professional baseball by playing for the Brooklyn Dodgers. But there’s a mysterious hole at the center of this otherwise worthy film.
The man who chose Robinson for his role, and masterminded the whole affair, was Dodgers General Manager Branch Rickey, played by Harrison Ford. In their initial meeting, the cigar-chomping Rickey makes it clear that whoever will be the first African-American in major league baseball will be viciously attacked, verbally and physically. So Rickey famously says he’s looking for a man “with guts enough not to fight back.” He needs someone who will resist the temptation to retaliate. Robinson agrees to go along with it.
But where did Rickey get that crazy idea and why did Robinson agree? The film doesn’t tell us, but the answers to these questions lie in the devout Christian faith of both men.
The new Criterion BluRay edition of On the Waterfront not only offers the crispest representation of the 1954 New Jersey dockyard visuals any of us have ever seen, it also illustrates the sociopolitical and creative context in a manner richer than any previously released.
The film I Was Worth 50 Sheep by Global Voices premiered on Sept. 2, but you have the opportunity to watch it online until April 28. The film follows Sabere, now 16, who was sold when she was 10 years old to a man in his 50s — a member of the Taliban. The story trails her attempt at a divorce and the story of her half sister, Farzane, who was sold by her father for 50 sheep. To watch the film, click here.
Steven Spielberg’s Lincoln will probably nab a few of its 12 nominated Academy Awards when the Oscars are handed out on Sunday — a sign that Americans never have and probably never will tire of our 16th president.
Abraham Lincoln’s face is etched in stone on Mount Rushmore and his brooding statue sits enshrined in a Greek-style temple in Washington. His succinct Gettysburg Address (about 270 words) took all of about two minutes to deliver, yet remains this nation’s most famous speech 150 years later. His assassination lifted him to mythic status — a martyr who earned his place in our pantheon of national heroes.
We just marked the 150th anniversary of his Emancipation Proclamation, but that necessary action wasn’t enough. Spielberg’s film revives Lincoln’s second act, in 1865, to pass the Thirteenth Amendment to abolish slavery through a divided Congress. It wasn’t the only injustice Lincoln worked to correct.
In his recent book, When General Grant Expelled the Jews, Brandeis University Professor Jonathan D. Sarna recounts an important but little-known event in 1863 in Lincoln’s quest for full civil, religious, and human rights for all Americans — this time, for American Jews.
The fragility of life. The servanthood of love. The (im)morality of war. The fundamentals of mercy and justice. The power of grace and forgiveness. The oneness of creation. The personal (and spiritual) toll of climate change. The nature of God and faith. These are some of the spiritual themes explored in the mostly august field of nine contenders for the 2013 Academy Award for Best Picture — Amour, Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Life of Pi, Lincoln, Silver Linings Playbook, and Zero Dark Thirty.
This week, in the run-up to Sunday's Academy Awards ceremony, we're taking a look at each of the Best Picture nominees, the stories they tell, and the spiritual questions (and answers) they offer. Today we turn our attention to Django Unchained, Les Miserables, and Life of Pi.
The fragility of life. The servanthood of love. The (im)morality of war. The fundamentals of mercy and justice. The power of grace and forgiveness. The oneness of creation. The personal (and spiritual) toll of climate change. The nature of God and faith.
These are some of the spiritual themes explored in the mostly august field of nine contenders for the 2013 Academy Award for Best Picture -- Amour, Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Life of Pi, Lincoln, Silver Linings Playbook, and Zero Dark Thirty.
2012 was an extraordinary year for film. This year's Best Picture field is perhaps stronger than it's been in recent memory, replete with nuance and substance, each film presenting a uniquely compelling and memorable tale that both informs and reflects our culture, sensibilities, and challenges.
A few of the nominated films employ overtly religious ideas and language (Life of Pi, Les Miserables, Lincoln), while others tackle daunting ethical issues that speak to our deepest identities and values (Argo, Djano Unchained, Zero Dark Thirty), or explore the sacred landscape of friendship, family, and unconditional love (Amour, Beasts of the Southern Wild, The Silver Linings Playbook.)
For the next three days, we'll look at each of the Best Picture nominees, the stories they tell, and the spiritual questions (and answers) they offer.
The third season of the megahit PBS series “Downton Abbey” wraps up on Sunday, capping another must-see run of ruin and redemption at Lord Grantham’s stately English manor. Yet some are still left puzzled over the absence of what should be a leading Upstairs player in this colorful cast: God.
Writing last month in the flagship evangelical magazine Christianity Today, Todd Dorman wondered why — despite the heart-rending melodrama and all the “divine trappings” that gild the 1920s scenery — “God is a peripheral presence at best.”
“There are numerous fascinating blog posts … that search for implicit Catholic and Christian themes in the show — good and evil, suffering for cause, various types and grades of love and devotion,” Dorman wrote. “At some point, though, especially with a vicar in the family’s employ, it seems odd for such connections to remain unnamed, unspoken, and, for all we can see, unperceived.”
PARK CITY, Utah — It’s been said that Hollywood films comfort the afflicted while Sundance films afflict the comfortable. Film offers a vicarious entry to the world the way it is, and the films I saw at the 2013 Sundance Film Festival left me longing for a different world — the world the way it ought to be.
It ought to be a world in which Muslims and Christians love, serve, protect, and forgive each other. Circles is based on a 1993 incident that took place in Trebinje, a small town in the Serbian region of east Herzegovina. Three Serb soldiers were brutally beating Alen Glavovic, a Muslim shopkeeper. When Srdjan Aleksic, a Christian Serb intervened to stop the soldiers, they turned their attention on him and beat him to death. The film explores the impact of this incident on the Muslim who survived the beating, Srdjan’s fiance and his father, on the children of the perpetrators, and on the whole village.
Nothing was tortured more in the making of Kathryn Bigelow’s film Zero Dark Thirty than the truth about torture.
While it’s just a movie, it runs the risk of becoming the basis for a false view of reality for millions of moviegoers who have largely ignored a decade of debate about the efficacy of the United States sanctioning torture.
To dismiss the movie as simple entertainment ignores the impact seeing it has on our perception of reality, even when we understand we are watching actors in a — mostly — pretend setting.
The fact that Zero Dark Thirty was nominated this week for an Academy Award for Best Picture only underscores the importance of understanding what it gets wrong about torture.
For many centuries Christmas Day worshippers have been hearing these words as their New Testament reading: “For the grace of God has appeared, bringing salvation to all” (Titus 2:11). Grace, everyone used to know, is foundational to the Christian Gospel.
But this Christmas I’m noticing the surprising version of grace in Les Miserables, already seen by 60 million people as a musical and now as a film. Victor Hugo’s novel may be seen as a story of grace transforming in the life of the common man Jean Valjean and grace rejected in the life of the rigid functionary Javert.
As the story begins, Jean Valjean is being released from 19 winters of imprisonment for having stolen some bread to save his sister’s son from starving. But in the eyes of Javert, Valjean will always be a thief, which is his nature, because he has not learned the meaning of the law. Crushed under this ideological overlay, Valjean sees himself as a slave of the law — in a way remarkably similar to that of St. Paul, who makes grace and law antithetical. The chorus confirms it: “Look down, you will always be a slave.”
In his first job after prison, Valjean is deliberately underpaid. When he objects, the boss says: “Why should you get the same as honest men like me?” (Jesus once told a parable about laborers in a vineyard to open people’s eyes to grace.) Valjean concludes that society has closed every door to him. When he is refused lodging, the innkeeper says: “We’re law-abiding people here. Thanks be to God.” The conservative identification with the law is commonly made in alliance with God, while Victor Hugo seems to understand that the Christian vision identifies grace, not law, with God.
This will be a night to remember!
On Monday, I had the opportunity of attending an advance screening of The Hobbit: An Unexpected Journey with a good childhood friend of mine. I sat in my favorite movie-watching seat (a few rows back and dead center), munching on free popcorn and drinks provided by a fellow moviegoer who wanted nothing more than to ensure that his entire row in the theater was happy and well-fed (not too unlike a Hobbit, really).
Just before the lights dimmed, I remember thinking how perfect the whole moment was. However, as exciting and as wonderful as those final moments of anticipation were, I also couldn’t help but wonder if I might be setting my expectations too high for the film that was about to come.
It turns out I needn’t have worried.
In search of a story that will “make you believe in God?”
It’s a heavy undertaking. Kind of like trying to adapt that story to film, as screenwriter David Magee and director Ang Lee did brilliantly in Life of Pi, which opens nationwide today.
The film, adapted from Yann Martel’s moving book, takes on massive questions — who is God, how do we find God, and why do bad things happen to us — as we follow Pi, a zookeeper’s son shipwrecked on a lifeboat with a Bengal tiger.
“I think we’re humble filmmakers — I don’t think we can answer why bad things happen to people,” Magee told Sojourners Tuesday. “But I do think it puts into perspective the fact that within every ordeal there is a lesson.
“This is very much a story about storytelling,” Magee added. “It’s very much a story about how those different narratives help us get through. It can’t promise to answer why we go through the things we do, but it can say what we take away from them.”
Abraham Lincoln was a storyteller, so it’s fitting that his story has been hashed out on the silver screen — without vampires.
And to say that it simply was “hashed out” would be an injustice to director Stephen Spielberg and everyone who contributed to Lincoln, a film that will be remembered as much for its beauty as the iconic character from which it gets its name.
I’m not going to lie (pun intended), even though Lincoln is one of the most important figures in American history, I was hesitant about seeing a movie with the potential to be a two-and-a-half hour history class.
But I was more than pleasantly surprised.
Despite its length, the film drew me in and held my attention — even as a millennial growing up with the Internet, which I’m convinced has significantly chipped away at the already small attention span I have.