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The Great Freedom (‘Große Freiheit’) / 2021 Directed by Sebastian Meise

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  Looking for Christ in this film was easy. The protagonist Hans (Franz Rogowski) has this hope which he brings into every situation which others find challenging, abrasive, even scary. No matter what evidence he is faced with, he just won't stop believing in possibility. He has a relentless and unsentimental ability to clear the way for love. He sacrifices himself for those he loves at several points in the film, undergoing torture and captivity in order for them to be free. He makes every effort to bring healing to those who need it, notably in holding Viktor (Georg Friedrich) through cold-turkey. He even leaves messages for those he loves in the Bible, messages written in light no less.  He has the bravery and innocence to exist, to 'stand transparently before God', to be himself in the face of whatever wickedness he is subjected to. What he wants to do is have sex with men; not a particularly complicated or grand aim, granted. But what makes Hans christic is not this or

Minari / 2020 / Directed by Lee Isaac Chung

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A beautifully acted melodrama with a classic American storyline: one member of a family is working to achieve a dream (to set up a farm in this case), which creates tension with the rest of the family.  The Yi family have moved to rural Arkansas. The father, Jacob, is delighted with their mobile home and plot of land. His wife Monica: not so much. Their son David and their daughter Anne accept the situation and make themselves at home. The couple are both ‘chicken sexers’: workers who divide the female chicks (off to careers of egg-laying) from the male chicks (off to be incinerated). Jacob buys an old tractor from a local character called Paul. Paul is introduced as what I believe Americans call a ‘hick’, and more specifically as the nutty-Christian variant of that stereotype. I don’t know how this would go down in the states, but both times I’ve seen it here this scene stimulated hearty laughs in the audience. Paul is unkempt, rustic to the point of disrepair. His unhinged and invasi

Sound of Metal / 2019 / Directed by Darius Marder

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A suffering man (Ruben- Riz Ahmed) is achieving worldly success, with all the joy and release that this can bring. He is in a great band with a woman he loves, and they're on tour in the best motorhome. But then a keystone of that world is taken away (his hearing) and the success dissolves. At first he fights uselessly against this cataclysm, but at length he humbles himself, and enters the Kingdom of God.  (I know from my own experience that eternity makes the mortal sick, you painfully purge your pride and self-hatred as you draw toward it. Before I was baptised I literally vomited up black stuff for a few days.)  I really felt that the deaf community here didn't so much represent the church, but rather actual heaven. Joe (Paul Raci) is a kind of priest-leader of the community. And, if they were following the ways of the flesh, they would certainly be a cult (it is a 'high-demand' group, taking your phone and car keys away on entry!). However, they're not, and Joe