February 5, 2017

Moonlight


 Stories are an important way for people to know each other, and in the story told in ‘Moonlight’ we are provided with dynamic visual embellishments and gifted actors and a director that bring this tough story about a tough life painfully alive.

For many viewers, this film will provide first-hand experience of an environment and life style with which we are completely unfamiliar. Although the plight of the impoverished in this country is often documented and publicized, there is still the opportunity for many of us to remain distanced from it. Not so in ‘Moonlight’.

The setting for the film is the Liberty City section of Miami where Director Barry Jenkins grew up. In a recent TV interview Jenkins said he never saw a white person until after high school.

When we first meet Chiron (first played by Alex Hibbert), who is a young black child, he is hiding from other kids bent on bullying him. He is skinny, quiet, reserved. We see his public housing home, his single mother (Naomie Harris) who struggles with drug addiction, his neighborhood, and the drug dealer Juan (Mahershala Ali). Juan kindly and authentically cares for Chiron, while effectively picking at our stereotypes, exemplifying the good we see in every person, and causing viewers to recognize the juxtaposition of his kindness to Chiron and his contribution to the distress that drugs bring into Chiron’s life.

We spend time with Chiron at various stages in his life. In three separate chapters in the film, “Little,” “Chiron,” and “Black”. We get to know him intimately. Like the centaur from Greek mythology with whom he shares his name, Chiron is unique. And, along with Chiron, we learn he is gay.

Chiron moves through his life, and we move right along with him. He moves from being a quiet, reserved, skinny kid to a quietly questioning and searching teenager (played by Ashton Sanders) to an aloof, shut down adult (played by Trevante Rhodes). The strengths of this film are many. Written by gay black playwright Tarell Alvin McCraney, we are given a purposeful film with language that is real, not trite.


Viewers are given the rare gift of intimacy and connection to a story, parts of which they may have heard, but did not know. This life story is one that resonates, in some unexplainable way, with the life of the viewer, who ultimately, like Chiron, in the most astonishing and grace-filled way, faces redemption, cautious hope and love.

January 14, 2017

Silence


There are comparatively few popular films that are open about Christianity. In most movies, we have to look hard and listen very carefully to find God and even then, often God is found in the nuances and subtleties of film. At first glance, it looks like God is front and center in the new Martin Scorsese film “Silence”. But in truth, the film stars a brilliant imposter known as religion.

If you are “spiritual, but not religious,” or know someone who describes themselves that way, this film has the possibility of being quite meaningful to you. At face value, the film is about two Christian/Roman Catholic priest/missionaries who, in a search for their lost mentor, travel into the hostile 17th century environment of Japan. There they find themselves trying to survive while holding onto their faith as they are immersed ever deeper into a culture where Christianity is mortally punishable and priests are forbidden.

The film demonstrates the passion of religion and the determined commitment to beliefs that enable torture and murder as punishment for believers of differing religions. The kind of missionary evangelism portrayed in the film has been an accepted method for evangelists and priests to use to invite “conversion” to Christianity. However, in recent decades missionaries have taken a different approach and many evangelists today live among the people and look for examples of the Gospel already present in their lives.

In ‘Silence’ a Japanese official tells a captive priest that love is foundational to both Christianity and Buddhism. Had the 17th century missionaries looked for common ground the outcome may have been quite different. But the film takes us to a time when the sole escape for the priests, other than death, was to become “apostate priests” renouncing their faith by stepping on a stone with an icon of Jesus or Mary and then accepting the cultural ways and religious practices of the Japanese culture.

Today, some movie-goers have become numb to extreme violence, explicit sex, and abuse in one form or another. But for many of us, repeated, horrific torture in the name of religion is new and frightening to see. The beauty of the Japanese landscape, the simple architecture of buildings and the transformative night sounds placed in juxtaposition make the scenes of brutality even more alarming.

Although much of the film is underscored by the practices of Christian and Buddhist religions, an attempt at understanding the faith of the “other” is given only a passing glance. The startling realities of this film are the battle of wills and the misuse of power, both of which are inspired by a lack of understanding of the largesse of God and the narrow interpretations of faith fueled by religion.


If you can parse out the spiritual aspects of the film as portrayed by the actors and separate them from the preoccupied focus upon religious dogma you will find poignant spiritual messages about incarnation, pride, humility and love.

December 19, 2016

Top Ten of 2016

Christy Lemire, former AP critic, offers her ten best films for this year. And the editors of RogerEbert.com differ not just in order but selection. Tribune Newspapers critic, Michael Phillips, has a slightly different order. But for those wanting to know the worst films of  2016, Phillips offer you his list. There's plenty of choices at the multiplex this holiday season but some of those listed aren't opening until January, 2017.

November 5, 2016

Do Not Resist

The Detroit Institute of Arts Film Theatre (DIAFT)
is currently showing "Do Not Resist", a film by Detroiter Craig Atkinson. I will see it tomorrow and hope to write a review here. In the meantime, here is what the DIAFT says about the film:

The directorial debut of Detroiter Craig Atkinson (cinematographer of Detropia) opens on the streets of Ferguson, as the community grapples with the death of Michael Brown. Step by step, the filmmakers reveal an underpublicized phenomenon: how and why small American communities are acquiring technologies, tactical weapons and training originally developed for use in the War on Terror. Do Not Resist―filmed in 11 states over two years―finally brings us into a charged congressional hearing investigating the not-so-simple facts behind the flood of military equipment into small-town police departments.

Bonnie Anderson

October 30, 2016

To the reader

Bonnie and Dan have concluded their weekly posts on recent movies. The nearly 100 posts remain here searchable on the interest and continuing the conversation about where God shows up in these films.

The conversation can continue on the Faith Reels page on Facebook. We hope to see your comments there about films and television programs that move you to find God in what may be surprising ways.


We are grateful for your interest and look forward to seeing you over on Facebook.