religion

God in America

God in America (Directors: David Belton and Sarah Colt): America has always rep­res­ented a place where almost any­thing is pos­sible, where people can start over and from where new ideas, philo­sophies and move­ments emerge. This six-part series from PBS explores the ways in which reli­gious faith has flour­ished in the United States, even as it has been shaped by other powerful forces.

Beginning with the Spanish con­quista­dors’ con­tact with the Pueblo Indians of the American Southwest, it was clear that European mani­fest­a­tions of faith and reli­gious prac­tice could not con­tinue unchanged. When the Catholic priests began “con­verting” the Pueblos, they were under the impres­sion that the nat­ives had embraced Christianity’s exclusive mes­sage, and rejected their own pan­the­istic reli­gious ideas. This was not the case, and when the Spanish began ban­ning native reli­gious prac­tices and pun­ishing trans­gressors, it didn’t take long before the Pueblos res­isted. When 2,000 war­riors des­cended upon the Spanish in 1680, slaughtering half of the Catholic priests, the Europeans fled New Mexico. Their Old World reli­gion would not be able to sur­vive unchanged in the New World.

This is a fact that the Puritans who landed on the East Coast in 1630 were counting on. Escaping reli­gious per­se­cu­tion in Europe, they saw them­selves as God’s Chosen People and this new land as the Promised Land. The fact that there were already people living in it seemed to bother them as little as it did the Israelites before them. Fleeing a Europe they felt was mor­ally cor­rupt, they were eager to start over and create a new society, based on the bib­lical prin­ciples prom­ised by the Reformation but com­prom­ised by cen­turies of existing polit­ical and reli­gious struggles. But the non-conformist prin­ciple that was behind the Reformation quickly came into con­flict with the need for a dis­cip­lined and united com­munity trying to sur­vive in a hos­tile envir­on­ment. And it didn’t take long for new strains of belief to break out and for the ori­ginal com­munity to become as rigid and cal­ci­fied as the European Catholic hier­archy they had left behind.

Just in the first episode, the series sets up the paradox at the heart of America. If everyone is free to do his or her thing, how do you develop a coherent society? America provided the answer by devel­oping its own myth­o­logy. That shared myth is what binds Americans together now, not the Puritan Christianity that united the first set­tlers. It’s no sur­prise that the earliest reli­gious con­flicts, between the inter­i­ority of faith and belief, and the com­munal insti­tu­tions of reli­gion and politics, are still at the heart of American society today.

I am very much looking for­ward to watching the entire series, and even based on the first episode, can recom­mend this to anyone (not just Americans!) inter­ested in the way our per­sonal beliefs and values affect our com­munities and our society.

You can watch the whole series online or order the DVDs from the excel­lent web­site that PBS has cre­ated for the series. It also con­tains a wealth of back­ground inform­a­tion and sup­porting material, including some fas­cin­ating his­tor­ical documents.

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Andrew James and Joshua Ligairi
Cleanflix has a number of fest­ival screen­ings coming up in the coming months. Catch the film at the Big Sky Documentary Film Festival in Missoula, Montana, and at Cinequest in San Jose, California.

My first film at the 2009 Toronto International Film Festival was Cleanflix (review), a doc­u­mentary which explored the issues sur­rounding the sale and rental of edited ver­sions of R-rated movies to obser­vant Mormons in Utah. I knew that after seeing the film, I wanted to ask the cre­ators many more ques­tions than they could have fielded during the post-screening Q&A. So, thanks to David Magdael and Margot Hardy from TC:DM Associates, I was able to sit down for half an hour with the cre­ators of the film during what must have been a very hectic week for them. In addi­tion to co-directors Andrew James (on the left in the pic­ture above) and Joshua Ligairi (on the right), we were also joined by pro­ducer Amber Bollinger.

Since the inter­view deals with some plot points in the film, it really makes sense to read my review first.

[click to continue…]

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Hadewijch

by James McNally on September 12, 2009 · 8 comments

in Film Festivals,TIFF

Hadewijch

Hadewijch (Director: Bruno Dumont): In this, his fifth fea­ture film, Bruno Dumont has cre­ated some­thing as mys­ter­ious and beau­tiful as his prot­ag­onist. We meet young Celine in a con­vent, where she is hoping to take her vows as a nun. But her refusal to eat and other acts of self-denial worry the Mother Superior, who turns her out into the world, hoping to rid her of what she con­siders “self-love.” Though she lives with her wealthy par­ents in the centre of Paris, they’re dis­tant and there’s some sug­ges­tion of buried issues with her father.

One day she meets some boys in a café, who are amazed at her trusting nature. Yassine takes a spe­cial liking to her, although she rebuffs his romantic advances, claiming she only has love for Christ. The young Muslim is befuddled but still besotted, so he con­tinues their friend­ship. Eventually she visits the home he shares with his brother Nassir in the housing pro­jects out­side the city. Nassir is a “ser­ious” Muslim, according to Yassine, and he thinks they’ll hit it off. He has no idea.

Nassir recog­nizes the fire that burns in Celine’s heart, and though their reli­gions are dif­ferent, their pas­sion is the same. Over time, he con­vinces Celine that God is not only about love, but about justice as well. Soon after that, he takes her to Lebanon to show her the injustice he finds there. Dumont patiently lays the ground­work for a stun­ning climax that shows just how easily love can turn to violence.

Meanwhile, in a par­allel plot, we follow David, a petty crim­inal working in con­struc­tion at the con­vent. He breaks his parole and is sent back to jail for a few months. It’s not clear what his pur­pose is until the final scene, in which the two lives stand in stark con­trast to each other. Celine lives in extremes, reaching for holi­ness and finding tragedy. David is an everyman, flawed but more cap­able of love than Celine could ever be. The inter­sec­tion of their lives leads to a power­fully moving ending.

Dumont put his faith in non-professional Julie Sokolowski to play Celine, and the decision pays off. She por­trays her dis­con­nec­tion from the world nat­ur­ally, even as she radi­ates a for­bidden sexu­ality. Her purity attracts men, but she only has eyes for Christ, and her obses­sion verges on the sexual. Her prayers are painful, expressing her yearning to be with Christ even as she protests his absence. She longs for the ecstasy and obli­vion of union with God, and the con­nec­tion with some of the rhet­oric of Islamic ter­rorism couldn’t be more clear.

This is the first of Dumont’s films I’ve seen, and I’m cap­tiv­ated by his intel­li­gence and will­ing­ness to explore such interior issues as reli­gious faith and obses­sion. In the post-screening Q&A, he revealed that Hadewijch was a real mystic from the Middle Ages, and his explor­a­tion of what a modern example would look like in a world filled with polit­ical action makes for one smart and haunting film.

Official site of the film (en francais)

Here is the Q&A with dir­ector Bruno Dumont from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 27:10

9/10(9/10)

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TIFF season is upon us again. For the past few weeks, I’ve been patiently entering each batch of announced films into a spread­sheet, and noting with growing alarm the number of great films that are making their way to my city. Each year, I pre­view a few in the hope that it helps me narrow things down. In this first post, I’ll focus on documentaries:

Bassidji

Bassidji (Director: Mehran Tamadon): This looks timely in light of the recently con­tested pres­id­en­tial elec­tion in Iran. The film­maker fol­lowed mem­bers of the Islamist cit­izen militia over three years in an attempt to under­stand their rabid sup­port for Iran’s Islamic revolu­tion. These are the same people who have been blamed for much of the post-election viol­ence inflicted on pro­testers. There are alleg­a­tions that the gov­ern­ment con­trols them at arm’s length in order to deny respons­ib­ility for any “excesses.”

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Cleanflix

Cleanflix (Directors: Andrew James and Joshua Ligairi): I remember reading a few years ago about sev­eral Utah com­panies who rented “edited” ver­sions of Hollywood movies to devout Mormon cus­tomers. All the sex, viol­ence and bad lan­guage had been removed. I always wondered how long and how coherent the res­ulting movies could be. This doc­u­mentary fol­lows these entre­pren­eurs, some of whom exper­i­enced a few R-rated plot twists of their own.

Official site of the film

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The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers

The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (Directors: Judith Ehrlich and Rick Goldsmith): Daniel Ellsberg was a trusted Pentagon insider until he leaked The Pentagon Papers, exposing how the gov­ern­ment had been lying about the Vietnam War. Nixon became so enraged and obsessed with pun­ishing Ellsberg that it con­trib­uted to bringing down his gov­ern­ment and ending the war.

Official site of the film

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Cure for Love

Cure for Love (Directors: Francine Pelletier and Christina Willings): I first heard about this doc­u­mentary almost a year ago, and excitedly wrote to the film­makers asking for a copy. To my shame, I’ve had that copy for almost eight months and am only now get­ting around to it. Although it was an inquis­itive email from one of the dir­ectors that jolted me into action, I’m happy that my review also coin­cides with the end of the Inside Out fest, which I’ve just been too busy to cover, des­pite my best intentions.

Cure for Love begins cryptic­ally with a wed­ding cere­mony between a self-described gay man and his les­bian friend. Brian and Ana ori­gin­ally met online through the Living Hope Youth Forum, a bul­letin board for evan­gel­ical young people strug­gling with same-sex attrac­tion. In gen­eral, the evan­gel­ical sub­cul­ture frowns upon homo­sexu­ality and con­siders its expres­sion a sin. Many min­is­tries have cropped up to help people to curb their desires and Living Hope is just one example of these so-called “ex-gay” min­is­tries. This film intro­duces us to Brian and Ana, as well as to two other friends who met through Living Hope. John and Darren end up taking a dif­ferent journey than their friends, each embra­cing their sexu­ality while attempting to hang onto their faith. This film very sens­it­ively listens to its sub­jects as they describe their pain and their efforts at resolving the very real con­flicts within themselves.

John’s story is maybe the most affecting for me. This incred­ibly intel­li­gent and artic­u­late man describes how in high school he would cut phrases like “not man enough” and “I hate me” into his arms with knives in order to fend off more ser­ious thoughts of sui­cide. He describes being put on anti-psychotic med­ic­a­tion and seeking help from various “ex-gay” min­is­tries such as Living Hope and Exodus. He finally comes to the con­clu­sion that there must be some­thing wrong with a set of reli­gious beliefs that in the end led him to try to des­troy him­self. Even so, he care­fully exam­ines bib­lical and theo­lo­gical evid­ence to help him accept who he is and to enjoy a romantic rela­tion­ship with another man.

Darren also becomes uncom­fort­able with the teaching of groups like Exodus. In their founders’ stories of anonymous sex and rampant promis­cuity, Darren fails to find any­thing resem­bling his own story. He admits that he never even kissed a man until he was 27, and that instead of feeling dirty, he felt incred­ibly free. It’s painful to watch him recount how he had to pull back from a rela­tion­ship with a man he clearly loves because that man had not yet been able to accept his own homosexuality.

Cure for Love

Brian and Ana are per­haps the most enig­matic. Ana seems unhappy but resigned to a mar­riage she describes as “like having a room­mate for life.” Her unyielding view of what she thinks the Bible teaches about homo­sexu­ality will not let her change her mind, even as she and Brian visit with their old friend John and his new boy­friend Chris. Brian seems to be making the best of it. His “suc­cessful” mar­riage has given him new oppor­tun­ities to speak at churches and “ex-gay” min­istry con­fer­ences and he seems to enjoy these rewards enough to stop short of where John and Darren have gone. Maybe the prestige and sense of com­munity he enjoys is enough to sub­limate his desire for a real romantic and sexual rela­tion­ship. It’s Ana for whom I feel the most, since she’s not enjoying the same sense of reward or fulfillment.

Although dir­ectors Willings and Pelletier do occa­sion­ally bring in rep­res­ent­at­ives of some “ex-gay” and “ex-ex-gay” groups, I appre­ci­ated that they kept the focus very tightly on this small group of friends. Because they’re friends who have reached dif­ferent con­clu­sions, their attempts to remain close pro­ject a sense of dis­com­fort that makes you hurt for everyone involved. Cure for Love takes a very sens­itive approach to a com­plex inter­sec­tion of sub­cul­tures, and suc­ceeds in showing its sub­jects as real human beings.

It will be showing at the Frameline San Francisco International LGBT Film Festival on June 20 and at Vancouver’s Queer Film Festival in August, but this is the sort of doc­u­mentary that really needs a tele­vi­sion broad­cast or some other way to reach a much wider audi­ence. I sin­cerely hope it gets that opportunity.

9/10(9/10)

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