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Marcel the Shell with Shoes On: Little Shell, Big Love

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For the first time in a while, there seems to be a lot for families to see in theatres. Between Minions, Lightyearand, arguably, Jurassic World, there’s a lot of frenetic action and crazy special effects that are designed to draw eyeballs to the multiplex.

But the best family film of the year is probably the least likely.

Directed by Dean Fleischer-Camp, Marcel the Shell with Shoes On is a delightful film that tells the story of an adorable knick-knack and his search for family. Marcel (voiced by Jenny Slate), one-inch-tall shell with a single googly-eye, lives with his Grandmother as the sole survivors of a tragedy that saw his family disappear into the night. When a documentary director rents their home as an AirBnB, he cannot help but make Marcel his next subject. But, when the video goes viral online, Marcel begins to hope that these simple videos might lead to him finding the family that he lost and loves so dearly.

Told in documentary style, Marcel the Shell with Shoes On may be the tale of one tiny trinket’s journey to find his family but it could it feels like it’s everyone’s story. As stop-motion animation brings the characters to life, Marcel becomes a soulful tale that speaks directly to the heart of all ages. There’s a charming inexperience about Marcel yet he contains a certain sardonic wisdom. Although he approaches the world with childlike innocence, he is also responsible, caregiving and intelligent. 

Similarly, the film has an authenticity and beauty about it as it approaches its subject with respect and joy. Admittedly, it may seem odd to refer to the character as a ‘subject’ as the film is clearly fictional. But there’s something so real about Marcel. 

Fueled by creativity, joy and heart, Marcel is a film that calls the young trinket to adventure. However, he has suffered a great loss and abandonment. Reeling from the loss of his family, Marcel wants desperately to be reunited with those who left him behind (even if it was unintentionally). He is young and feels the loss deeply. Now, with only himself and his grandmother remaining, he yearns for community. 

And Marcel is very much a film about the nature of community. 

However, rather than simply acknowledging that we need relationships, Marcel explores what it means to truly mine the depths of those connections. This is best exemplified between Marcel and his relationship with filmmaker Dean. Wanting to remain the unobstructed observer to Marcel’s life, Dean desperately wishes to remain off camera. But that’s not what Marcel wants. 

Marcel wants a friend. 

As he shares the stories about his life, he can’t understand why Dean will not share stories of his own. Eventually though, Marcel manages to crack Dean’s shell and gets him to open up. Suddenly, what began as a relationship between filmmaker and subject becomes a deep friendship. You see, Marcel doesn’t nearly want to be around people. He wants to people in his life that he can invest in emotionally (and can invest in him). Even in his youth, Marcel understands that real love can only happen when everyone lets down their guard to truly care for one another. 

That’s an awfully mature understanding of relationships for a googly-eyed shell.

While Marcel the Shell with Shoes On may not draw the attention of children at a time of Minions and Lightyears, the sweetness of the film cannot be underrated or underestimated. With one loving googly-eye, Marcel penetrates the heart and remind us of the need we have for authentic community so that we may deal with the pain storms that inevitably comes in life. On the surface, Marcel may appear to be an insignificant (and inanimate) trinket. 

But this tiny knick-knack has a lot to teach us about what it means to love.

Marcel the Shell with Shoes On is available in theatres on Friday, June 10th, 2022

SF Radio 8.25: Mental Health and the Multiverse in EVERYTHING, EVERYWHERE ALL AT ONCE

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Truly anything goes in the multiverse. Whether it’s empowering chapstick, googly-eyed boulders and hot dog fingers, EVERYTHING EVERYWHERE ALL AT ONCE unleashes the potential of the concept in its fullest sense, bringing every conceivable universe to life with boundless imagination. However, at the same time, to gaze into infinity is also an overwhelming prospect. This week, Victor Stiff and Victoria McCartney join Steve to talk about dealing with mental health, the healing power of compassion and staring into the Everything Bagel.

You can stream on podomatic, Alexa (via Stitcher), Google Play, Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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After Yang: Asking about After Life

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Directed by Kogonada, After Yang tells the story of Jake (Colin Farrell), a husband and father who’s family has purchased an android named Yang to help around the help. With his warm spirit, Yang (Justin H. Min) has become an important part of the family over the years, especially to their young daughter, Mika (Malea Emma Tjandrawidjaja). After Yang malfunctions, Jake begins to look for a way to repair him. However, as he does so, Jake is surprised to discover that there may have been more to Yang than simply ‘just another model’ and it shakes his views on family, love and the world.

Pacing itself with an air of quiet meditation, After Yang is the very definition of a mood. A sci-fi drama with the sensibilities of Terrence Malick, Yang gives itself space to reflect on the nature of grief, family and what makes us human. With slow camera movements and little music, Kogonada forces the viewer to sit and reflect on the silence that exists within the home. (Of course, the great irony of this is that it opens with a dance sequence, but I digress.) In many ways, Yang was the glue to the family and, with his death, the emotional gaps between them continues to widen. Then, as the film progresses, the story itself begins to gradually melt away, leaving fractured memories and peaceful imagery in its wake.

Once built up to be a sexy, action superstar, Colin Farrell has now built a career as a transformative actor in a number of unexpected pieces. With roles in The Lobster, The Killing of the Sacred Deer, The Beguiled and more, Farrell has successfully deconstructed his own masculine stereotype and come to demonstrated his range as a performer. (Even his latest role in The Batman as arch-nemesis, The Penguin, buries himself into the character so much that one would be stunned to find out that it’s actually him.)

In Yang, he continues this trend by taking on a quiet, pensive role as a father attempting to understand the importance of his family’s “property“. To Farrell’s Jake, Yang has always been valuable as their android. However, the more he learns about Yang’s experience in their family, the more he begins to wonder exactly how ‘alive’ his robot may have been. As a result, while he discovers the memories that made Yang special, Jake becomes increasingly reflective about his own humanity and begins to reconsider what makes his own life valuable. 

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With its eye on what lies beyond, After Yang leads to a much deeper conversation about what makes us human. In essence, there is a spiritual pursuit embedded within this film that is willing to explore some of life’s biggest questions. If our lives and memories are made up collectively of moments, which are the ones that matter? And, of those, which are the ones that define us? After Yang has a deeply affectionate humanism about it that focusses on the immediacy of our lives, even if we are unsure about what happens next. 

Though they are (relatively) happy, this is a family comprised of people who one might assume are not necessarily pieced together. An adopted daughter, an interracial couple, an android and clone all create an atmosphere of people coming together in an effort to live their lives together. In many ways, they gain meaning simply by pouring into each other’s lives. Grieving the loss of their android, Jake and his family begin to focus on the moments that matter now and how they can pour into one another with love.

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In this way, there is a heavy emphasis on what matters ‘today’ within the film as opposed to what comes later. Even so, neither does it judge those who believe in something more. (It’s interesting to note that Yang himself is completely comfortable conceiving the world without an afterlife but, at the same time, he also refers to the fact that a caterpillar ends his life in order to become something new.) This story is unique in that it is not one with any clear agenda other than to ask questions and to sit in the ambiguity of the response. This is a conversation about the meaning of life now and the opportunities that are presented after our days to heal. There is a sadness within the film yet, somehow, it also maintains its sense of hope.

Admittedly, there are those who may lose interest in After Yang as it progresses simply due to its pacing and narrative structure. For me, personally, I couldn’t look away. There’s a peaceful sensibility to Yang that I found fascinating from start to finish. With love and affection, Kogonada’s film asks some massive question regarding who we are, why we matter and our place in the universe. 

To him, what happens After Yang matters as much as what happens before him.

After Yang is available in theatres on March 11th, 2022.

Apollo 11: Quarantine – The Past Meets the Present

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Set in 1969, Apollo 11: Quarantine is a documentary short that shows what happened after NASA’s successful launch to the moon. In case the astronauts made contact with any microscopic life on the moon, NASA deemed it necessary for them to distance themselves from others for 21 days as a precaution so that they could be properly monitored. Using never before seen footage, the film gives you an interesting look into what it was like for them to quarantine. 

Premiering during the COVID-19 pandemic, the release of Apollo 11 could not have been timed better. Directed by Todd Douglas Miller, the film does a good job portraying the mood and feeling of quarantine as well. By showing scenes of the astronauts playing mundane games to pass the time, waving to friends and family from afar and celebrating birthdays alone, the experience of the astronauts greatly mirrors that of people who are forced to quarantine today. Stuck in isolation, everyone is so close but so far away and cannot be reached. With most of the scenes filmed in silence, the viewer gets a good sense of the boredom and isolation these brave astronauts felt. 

Admittedly, the documentary does feel a bit slow. Though it may match the current feeling of quarantine by people today, the lack of narrative or urgency does make the film feel a bit boring. In many ways, Apollo 11 almost feels like we were just watching people relax or prisoners stay in their room all day. (Though, again, that’s a fair point considering the parallels to our experiences today.)

Even so, Apollo 11: Quarantine offers us a new look into the days that follow the Apollo 11 mission from the astronauts’ point of view. What’s more, given our situation in 2021 due to COVID, the film provides an interesting angle into both space life and quarantine in general. In many ways, though the footage was taken in 1969, it could have also been shot last month with the average American family. 

Apollo 11: Quarantine is available on Apple TV.

Finding Your Voice: 1on1 with Bo Burnham (director, EIGHTH GRADE)

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Written and directed by Bo Burnham, Eighth Grade follows the story of Kayla (portrayed brilliantly by Elsie Fisher), a pre-teen girl in the final week before her middle school graduation. Looking forward to high school in the fall, Kayla is caught between who she was and who she wants to be. As her school year comes to a close, she must attempt to find herself in the midst of adolescence without losing herself in the process. When asked why he chose to focus his story on the trials of an eighth grade girl, Burnham explains that there’s an innocence and awkwardness to that age that he wanted to explore.

“I’ve met a lot of high schoolers. [Today’s] high schoolers seem very blahzay and over it,” he begins. “They have a thousand yard stare that feels like they got from the war of junior high. You know what I mean? I think of coming of age in high school, but high school is when you’re becoming an adult. When you’re an eighth grade, you’re literally still a child. When you’re in high school, I don’t think you have ‘child’ left in you but, when you’re in 8th grade, you still have full blown child going on [within you].”

“I wanted to make a movie that I liked and I wanted to see. So, it definitely wasn’t for eighth graders,” he continues. “I hope that eighth graders like it, but it’s definitely not primarily for them or only for them. If I’m honest, I think people are just about as awkward and weird as eighth graders. I don’t think it’s that different. I think we’re all pretty awkward. I hope it serves kids and their parents in specific ways but I also hope anyone can see themselves in her, you know what I mean? It’s the sort of sexist thing that’s put on a lot of young female stories. No one goes, “Oh, Hamlet. Was that only for Princes of Denmark?” Everyone sees themselves in him, even if they aren’t a prince or a man or a Danish or whatever. I think a 13 year old girl can be the same thing. Everyone should be able to see themselves in her… I connect to her personally.”

With Kayla, Burnham has created a character who feels completely honest and authentic in her approach to the world around her. In order to bring that sense of genuineness to life onscreen, Burnham realized that he had to perfect Kayla’s voice, a process that took him online for research.

“The first step was [to create] the voice of [the film],” he remembers. “So, I was just listening to kids talk online about themselves. You know, kids that we’re talking with 10 views on their channel. The first thing I did in writing was to just transcribe exactly what they said. Every sound, you know what I mean? So, I was transcribing [things like] ‘Uh, yeah. So, uh, yeah, sorry, what I’m trying to say is…’ That’s what I was trying to write. I was watching these videos [thinking] if this were a performance, that would be incredible because the way kids actually sound is so much more complex than the way kids are written and performed. So then after transcribing a dozen or so, I started to write my own in that voice… The movie grew out of that voice, really. The voice, to me, contains the whole meaning of the movie. [It’s in] the performance and what she wants to be, how she thinks she might be, and what’s the gap between that? It’s all there in just a sentence.”

Once he’d established Kayla’s voice, Burnham’s next step was to establish the film’s tone. Looking back, he sought to emphasize the weight and importance of her challenges, rather than focus on broad comedy.

“I really did approach every scene the same in terms of just trying to reflect your subjective experience,” he explains. “I wasn’t in funny scenes trying to be funny. [For example, in] the banana scene, we weren’t laughing. I was taking that very seriously because I was trying to feel with her. This is an awful moment of your dad catching you in this really bad thing. Moments that don’t sound like a big deal of all different types, when you actually live them, are a huge deal. Go to a pool party. It’s nothing. But when you actually go to a pool party, it’s not nothing, at least initially.”

Also central to Eighth Grade is Kayla’s relationship with her father, an earnest man who loves his daughter yet struggles to connect with her in the midst of her issues. When asked why he chose to explore that tension between generations in this way, Burnham answers that this sort of miscommunication is simply reality.

“I just think that’s the truth and how it maybe even should it be,” he states. “It might be the point of it to not quite understand each other. What he kind of gives her at the end is, “I cannot understand you in this moment. I have no idea what you’re going through right now. But I understand like the meta-you better than you do.” That’s sort of what my mom gave me all the time, when I’d be going through [stuff]. I’d [say], ‘You don’t know what I’m going through at all right now.’ Then she’d say, ‘I don’t. But I saw you go through something at four and then eight and then 12. I know this feels like a really new thing you’re going through, but I’ve seen you feel this way before and you’ve gotten through it.’ [Parents] don’t specifically know you moment to moment, but they know the overarching you. At that age you just can’t attend to [that] because two years ago feels like forever ago and you were a different person.”

While one might wonder if he were overwhelmed at the prospect of stepping into the director’s chair for the first time, Burnham believes that he was able to play to his strengths by focusing on the youth themselves.

Says Burnham, “I wrote it with the intention [to direct]. I had written another script that I tried to get made and it didn’t happen and then  [thought I would] write something that I know I can direct… The intention was to lean into whatever strengths I thought I had, like scene work or working with young people. I may not be a director that really knows how to direct a film, but I know young people in the Internet pretty well, so if I can stay close to what I feel like I know then I can be in decent shape.”

However, despite his original vision, Burnham notes that the change in the political landscape also altered how he views the film.

“I was certain I was making it for Hillary’s America,” he expresses. “The movie just felt different when we were making it because then, all of a sudden, Trump is there and felt like, ‘Whoa.’ When she’s making that video to herself at the end , we were making [the film] saying [we] really don’t know if she’s going to make it. I don’t know if the country makes it to when she’s a senior, which was so different than when it was written. When it was written, it was going to be a subtle sweet interrogation of this thing. Now that there’s a female president, we all feel a little better about ourselves. Instead, the story became a lot more urgent when Trump was there which was insane.”

Of course, with any conversation about today’s youth comes an exploration of their relationship with the internet and social networking. A veteran of the YouTube world, Burnham wanted to explore the online world in a way that revealed how pre-teens engaged it, rather than his own generation.

“I wanted to talk about how [the internet] felt to me and I think I did,” he explains. “When I tried to write about someone my age dealing with the Internet, it just felt so embarrassing. It was just so hatable. But, when you’re an eighth grader, we can kind of like forgive our behavior a little bit better. We can look at it and [say that] she isn’t narcissistic. She isn’t self-obsessed. She’s just looking for connections. She’s just desperate to be loved, like we all are. I think that’s actually how we all are acting on the Internet. We’re just like pretending like it’s something else… The Internet means the most to those kids because they don’t know a world before it. So, it’s not this other thing to them that they’re living with. It’s the way that they live and always have.”

“[The internet] is there but it’s also theirs to change. That doesn’t mean they can’t react to it. I just think that older people in charge of in Silicon Valley need to more deeply understand this responsibility they have because of how important this thing is and how deep it reaches into them. It isn’t just like some cool marketing technique. It’s actually the neurochemistry of an entire generation that you have in your hand. The kids will learn that. It’s more the job that people with power [must realize]… They have like a lot of power and they need to wield that responsibly.”

Rather than use Eighth Grade to make some form of cultural argument, Burnham’s ultimate desire for the film is for people to realize that they are not alone in their fears and anxieties.

“I just hope people see it and feel something,” he claims. “I really don’t want the movie to be prescriptive or tell you what to think or wag a finger or be a ted talk. The hope with everything is always that you just feel a little less alone. I mean, that was the point for me to do it, just to [realize that] these feelings that I have that I think are so unique are not unique. They are shared by other people. A whole wide array of people can see it and see their own feelings reflected in someone that may have been like them or may have not been like them.”

 

Eighth Grade is in theatres now.

For full audio of our interview with Bo Burnham, click here.

The Broken Church: 1on1 with Cedric the Entertainer (FIRST REFORMED)

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First Reformed tells the story of Toller (Ethan Hawke), a former military veteran and pastor of the First Reformed Church.  Preparing to celebrate their 250th anniversary, the church has become largely ceremonial, with most parishioners having moved over to the local megachurch, led by charismatic Pastor Jeffers (Cedric the Entertainer). When tragedy strikes, Toller finds himself torn between counseling the victim’s grieving widow (Amanda Seyfried) and his own creeping personal issues. Although he’s most frequently viewed as a comedian, veteran actor Cedric the Entertainer handles the role of Pastor Jeffers with strength and humanity. When asked what interested him in this role, he insists that it was opportunity to explore his dramatic side and, more importantly, to work with legendary writer/director Paul Schrader that led him to the film.

“For me, it was the opportunity to work with such a legendary writer and director in Paul Schrader,” he starts. “[Also], when someone asks to cast me out of a comedy movie–and it’s not a comedy, you know, it’s a dramatic role–it’s always something because I have a theatrical background, even though I built my brand as this comedian. I love to get on the screen and find things and really dig into a character. So, this was a break to be able to work with Ethan Hawke and then with Paul as well. I didn’t have any scenes with Amanda, but she was there.”

In fact, what most excited Cedric about the chance to work with the legendary director was Schrader’s ability to find depth in the humanity of his characters.

“In this particular script, it is the kind of empathy that he’s able to find in the despair and discovery that people have as human beings,” he reflects. “Right when we’re the most confident, we’re also the most vulnerable. Right when we should be at our greatest, we can easily on the turn of a dime be at our lowest. There was something about this [film] where…  religion in this movie was the main backdrop–the spiritual life–yet he kind of pulled the layer back, even [in] Ethan Hawke’s character, who’s going through a lot. But my character [is] playing a pastor of a big megachurch, where we got thirty thousand followers, and church is being held at the old basketball theater. Why is that necessary for my spiritual existence, right?”

“And now to see [Toller and say], I believe in this guy, trust this guy and put my faith in him. Then I kind of pull back the layer and remind him that it’s a business. [My character]’s got corporate donors and he’s listening to them over what we want to do. That’s really real and that’s when you do question all of these things that we have to live within the world that are these kind of big tent poles of religion or politics, education and medicine. We kind of just follow along them, knowing that we’re kind of being guided by this big corporate idea of what it is and we tell you what you believe. That was an interesting thing to play.”

In Reformed, Cedric plays Pastor Jeffers, the jovial but burdened minister at the Abundant Life megachurch. In preparation for the role, Cedric went to speak with several well-known megachurch pastors in order to find out how they manage the balance between spiritual leader and corporate figurehead.

“I’m friends with Bishop TD Jakes, who has a huge church with a big following, and also great friends with another minister in St Louis, Freddy Clark. We would sit and just kind of talk about his world. What’s it like? It is this thing where you are the spiritual leader. You do have all these people that come to you from all walks of life because of family circumstances and look at you from the pulpit on Sunday morning as the person with all the answers, right? They assume you have every answer to their life and that, in that Bible or text that you’re going to say, you’re going to give them a bit of knowledge that’s going to solve it all for them… Yet, once you close the hymnals and you say, ‘Amen’, now [Jeffers has] to run this big building. I’ve got a staff. I’ve got land. I’ve got real estate taxes. I’ve got things that are just as important to me as your soul, because in order to have all of this, we had to raise a certain amount of money. We have to provide these programs. So, it was interesting to see someone have to do that and still be a human and at the end, and have frailties and faults… and things that, if everybody saw them, it would be like seeing the Wizard [of Oz]. Like, they’d say ‘Oh wow, you’re just a person.’”

By placing Toller and Jeffers up against one another, Schrader creates a fascinating tension between the two men and their opposing values. However, Cedric believes that much of their differences are a result of the communities around them.

“Toller needs to suffer. He takes it all on… He’s a minister in a kind of a church that doesn’t really have parishioners. It’s kind of a ceremonial kind of place. It’s been around 250 years. So, he spends a lot of time alone and even though he’s supposed to be a leader of people and one that helps, it’s in that loneliness that one finds that they can jump into the despair of their own existence and decide that they haven’t suffered enough. That’s the difference. I think that, because [Jeffers] is in a big organization, I’m constantly being protected or being driven to have to be something on a daily basis.” 

In one of the more interesting (and unexpected) aspects of the film, Schrader inserts a conversation regarding the environment and the responsibility of the church within the narrative that forces Jeffers to make some difficult decisions. Even so, Cedric feels that his character is torn between caring for Toller’s humanity and maintaining his church financially.

Says Cedric, “I think from the point of view of the megachurch, you try to look at things in a bigger picture and not so much in the micro. So, I think that, even when dealing with the character Ed Balq who was the big industrialist in the movie and he’s a big donor for me. [At one moment,] I have to kind of bark at Toller and I want to defend him. It was a thing that Paul didn’t necessarily want because he wanted that he needed Ed to challenge him. But if you listen very briefly, I tell him, ‘Ed…’ I just say his name, [as if to tell him to] bring it down. I felt like that’s the part that you don’t get about Jeffers is that [he] understands what [Ed does] for [him] but, as a human, [he] understands [Toller] too. So, he would accept your donation from this organization, so I can accept the fact that you’re going to maybe kill a few people but, with that sacrifice, I may have the opportunity to save thousands. That’s what Jefferies looks at.

While Toller and Jeffers’ relationship remains strained at times throughout the film, Cedric also believes that there is a genuine friendship between the two characters.

“Imagine being an administrator of one of these kind of big churches where you’re the head honcho and to have someone that you are passionate about as a human… and they make you have to deal with your humanity,” he reflects. “They raise a question that you haven’t had an answer in a long time. The fact that he would even challenge Ed Balq [shows that Toller] is a person that puts some energy back into you… That is a friendship that I need. Right? Because that’s a person that makes you ask a question when you don’t have to have questions. All you give away as answers (in your opinion) because you’re the king. And that is something that me and Ethan, in our couple of our rehearsal days, we discovered a relationship where we knew each other and that there was a real friendship there, even though I’m communicating like boss to subordinate. It’s this thing that we wanted to make sure that people felt like they actually could be better friends. They probably are friends.”

In light of his financial dealings, it would not be difficult to judge Jeffers for his actions. Nevertheless, Cedric still believes that his character is a good man, despite his compromises.

“I would say yes, to the degree that he is a man that’s trying to do good,” he begins. “In the process of that, do I have to do some bad things? Maybe. But, overall, Jeffers is trying to do good, even when he speaks to Toller and he’s trying to get him to understand that [he’s] always living in the garden. [He tells him that he’s] always where the despair is… When you do that, you make the choice sometimes to leave people behind. You make the choice that maybe you will have an extra glass of communion wine, but it doesn’t make you a bad guy. I found that with some of the guys I studied. We met at a cigar lounge and you go, ‘Well, do you smoke cigars? Is that right or wrong?’ Yeah, I’ll have a cigar. I have a glass of wine… I may even use language amongst certain friends, you know. But again, this is all in that part of being a human as opposed to literally try to live on the pedestal that people put you on.”

Despite the film’s controversial exploration of modern day religion, Cedric was still surprised at some of the backlash that he experienced during the film’s production.

“Early on, as we were scouting locations, we had to speak with several pastors and it was the question of the subject matter that made one of the bigger churches [nervous],” he remembers. “I was friends with them. I called them personally and they made this choice that was very Jeffers, I felt. They made a choice to say ‘No, you can’t shoot this movie here because we think that it may put a blemish on what we sell as a religious belief. We don’t want to sell that. And it was like this is not your church. We just need the location. But for them it felt like maybe people would see their lead minister as the same kind of guy. It [seemed like they didn’t] want to raise that question. They actually wanted script approval. It got crazy.”

For full audio of our conversation with Cedric the Entertainer, click here.

 First Reformed is in theaters now.

First Reformed: Is Church Relevant?

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“Will God forgive us?” — Toller (Ethan Hawke, First Reformed)

First Reformed tells the story of Toller (Ethan Hawke), a former military veteran and pastor of the First Reformed Church.  Preparing to celebrate their 250th anniversary, the church has become largely ceremonial, with most parishioners having moved over to the local megachurch, led by charismatic Pastor Jeffries (Cedric the Entertainer).  A former military veteran and father to a deceased child, Toller seeks desperately to ‘feel alive’ again in his ministry and finds himself called to the home of a suicidal parishioner for counselling.  When tragedy strikes, Toller finds himself torn between counseling the victim’s grieving widow (Amanda Seyfried) and his own creeping personal issues.

Written and directed by the legendary Paul Schrader (Taxi Driver, Afflicted), First Reformed reveals the hidden realities of church ministry, ugliness and all.  As Toller, Hawke offers a strong but subtle performance, portraying him as both warm and broken.  He is a man who is constantly ‘in the garden’ of suffering, emotionally and physically, clinging to a faith that seems irrelevant to the culture in which he lives.

However, in the death of his parishioner, he finds new life as he begins to question what it means to express his faith in the 21st Century.  By re-examining his passions and calling, Toller’s crisis of faith leads him into conflict with established religion, eventually putting him at odds with his friend, Pastor Jeffries.  Focused on massive budgets and state-of-the-art technology, Jeffries’ megachurch provides a fascinating contrast to Toller and First Reformed by showcasing the potential hypocrisy of the ‘ministry as big business’ mentality.  While Jeffries speaks of meeting with people of importance and spectacle, Toller demonstrates an increasingly deeper interest in justice issues such as the Underground Railroad and environmental conservation.  This juxtaposition of ideologies highlights the dangers of ‘cultural spirituality’ and begs the question of where the church’s responsibility lies today.  As the film goes on, Toller increasingly agonizes over important cultural issues, to the extent that he wonders if God will forgive us for our selfishness.

In light of this, First Reformed plays out as both call to the church and challenge to it as well.  Schrader’s script depicts the angst of one who clearly wishes the church will come alive by recognizing its potential role to affect change in our world.  As a result, First Reformed portrays the church as both hopeful and irrelevant by highlighting the lack of interest in social issues in favor of spiritual entertainment.  Broken by his personal history, Toller’s journey also reveals the impact that a person (or church) can have to affect change but also questions to what lengths they must go to do so.

For audio of our interview with writer/director Paul Schrader, listen below:

For audio of our interview with Cedric the Entertainer, listen below: