Category: Movies

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Photograph: Rhys Tranter

Christoph Cardinal Schönborn, the editor of the Catechism of the Catholic Church, shares this on art, the true and the beautiful:

“Art, therefore, does not deal only with what is externally beautiful and harmonious, although this is rightly considered to be its primary end (CCC 250I). Gertrud von le Fort, one of the greatest Catholic authors of our [just-completed] century, says of writing (and similar things can be said also of the other arts) that it shares with the Christian faith the ‘irresistible inclination to embrace the ostracized and the condemned, even the guilty who are condemned, to accompany on their confused path to the abyss those who have gone astray, to draw the failing and the dying to its heart. […] Genuine poetry remains, unflinchingly, the great lover of the guilty and the lost.’”

Perhaps the words of this author will help us to understand better some of the ways of contemporary art and to see more clearly where today’s artists, in their often bewildering quests, are on the trail of the Savior’s truth.

— Living the Catechism of the Catholic Church, Vol. III: Life in Christ.

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Photograph: Rhys Tranter

Divine Mercy Sunday. We travel to Chapter Arts Centre to see Jean-Pierre Jeunet’s Amélie (2001), which is celebrating its twenty-fifth anniversary this year. It was an important film for both of us when we were younger. Audrey Tautou’s iconic performance of the heroic and vulnerable Amélie is still a pleasure to watch, while Jeunet’s kinetic energy and rich colour palette remains the vision of Paris for every tourist. Moving, joyful, and exuberant.

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“You are gods, sons of the Most High, all of you; nevertheless, like men you shall die, and fall like any prince” (Ps 82:6-7)

Xavier Beauvois’s 2010 film, Of Gods and Men, begins with this ominous epitaph from the eighty-second psalm. It is to be a portent of the narrative’s themes of death and dignity, explored in conversation with the theological virtues of faith, hope, and love.

Br Amédée (Jacques Herlin) and Br Luc (Michael Lonsdale)

The film is based on the true story of a community of Cistercian monks at the Monastery Notre-Dame de l’Atlas (Abbey of Our Lady of Atlas) in Tibhirine, Algeria. As you might imagine, my remarks here will reveal key details of the plot and references to the real historical events.

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In A Hidden Life: Telling the Story of Saints, Mark Cooprider offers an accessible analysis of Terrence Malick‘s 2019 biopic of the Austrian conscientious objector St Franz Jägerstätter—executed in 1943 for his refusal to swear allegiance to National Socialism. Cooprider explores how Malick’s poetic narrative encompasses conventions of history, biography, myth, and legend, in ways akin to ancient Christian hagiography.

Note: Viewers interested in these connections may also seek out the work of academic Joel Mayward, for whom Malick’s distinctive approach to cinema can itself be considered a form of theology (or ‘theocinematics’).

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“The most important thing in life is not happiness but meaning.”

— John M. Hull, Notes on Blindness

Set in the summer of 1983, Notes on Blindness is a beautiful 2016 documentary that explores the life of writer and theologian John M. Hull.

Based on his memoir, Touching the Rock, the film offers a deeply personal account of an academic who permanently loses his vision while anticipating the birth of his son.

Filmmakers Peter Middleton and James Spinney draw from audio cassettes recorded by Hull at the time, which attempt to explain and understand the experience of blindness through vivid philosophical reflections on everyday events and experiences. (more…)