I love apocalyptic films. Alien invasions, panicked pandemics, climate change catastrophes, and nuclear fallout: our culture has depicted its own destruction in a myriad of ways.
This week I rented the film, Seeking a Friend for the End of the World, an apocalyptic story in an end times sub-genre I like to call: A Giant Asteroid is Set on a Collision Course with Earth. Continue reading →
In a recent film about the renowned Canadian environmentalist David Suzuki, he relates some amazing facts about the reach of the breath that we breathe. Suzuki says that we now have evidence that the breath that we breathe out will enter into the space around us, gradually combine and recombine with other breaths, expand and travel. This process continues, he says, such that IN ONE YEAR our breath will have travelled around the world and back to us so that we will breathe in the breath we breathed out 365 days ago.
This is an astonishing fact. As are other facts that contemporary science offers for our meditation: we are breathing in the dust of stars, every moment. We are breathing in the breath of plants and animals, the breath of countless other human beings. The living and the dead.
It is one of our most ancient beliefs that we as Christians belong to a Communion of Saints, the living and the dead. We believe we are mysteriously, graciously, sustained by the goodness, the holiness, the justice of others. They are God’s breath among us now. Continue reading →
River Use to be a Man stands at the crux of an unfinished conversation (and perhaps unfinishable) on the nature of representation. Which stories are we permitted to tell and in what kinds of places are we entitled to tell them? These are the sorts of questions that are inevitably asked when a film is depicted in the fragmented site of colonialism – more so when one who does not find that place his home authors that representation. This is both the narrative and the metanarrative of German film maker Jan Zabeil’s feature, where functioning as both author, director, and actor (and one might be tempted to add, character), he plays a listless German youth wandering Botswana, who is forced by circumstances beyond his control to journey on a boat down a river in search of his own life. This is a tale of existential and spiritual survival, a Heart of Darkness for a postmodern generation. Continue reading →
Sean Durkin’s Film Martha Marcy May Marlene in Review
In a time when the greed of liberal capitalism has brought the global economy to the knife’s edge of utter collapse, it may seem frivolous to spend time at the movies. Indeed as the Occupy protesters continue their encampments, the often-heard criticism by the elite – the infamous 1% – is the hypocrisy of the protesters own positions. Are they not organizing their traffic stoppages on their iphones while they sip Starbucks lattes? Are they not themselves the very consumers who keep the death march of infinite protest going? How then can they make a legitimate critique of a system in which they are implicated? We can imagine the critics shouting: “let the hippies leave their communes and go home, let them get jobs and stop complaining about a system that supports them.”
Rather than feeling like you are handing over 30 pieces of silver for a pass to the cinemas this weekend, as Martha Marcy May Marlene hits theaters, few critics of capitalism could do better then to put their protest signs back in their yurts for a few hours (its okay, you will want to take them up again later) and head over to their local cinemas for Sean Durkin’s new film. Continue reading →