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Healing

Sunday at AFI Fest 2021

November 17, 2021 by Darrel Manson Leave a Comment

How strange that AFI Fest 2021 is already coming to an end. But perhaps next year the festival will be able to move back to a weeklong fully in person event. Still, it is important to thank the staff and volunteers for the work they did to make this such a wonderful—and safe—experience. And of course, I’m thankful that they grant me so much access to these wonderful films.

Do you remember going to movies full of viewers that becomes a common experience? We are reminded of that experience in Zhang Yimou’s One Second. Set in the Cultural Revolution, a man who has escaped from a labor camp is desperate to see a newsreel that has a brief onscreen appearance of his daughter. In the first town he’s in, the movie is finished, and the film is to be transported to the next town. But a girl steals one of the cans of film and the man chases her down to retrieve it, since the film won’t be shown if incomplete. The first part of the film is a humorous back and forth of the two of them taking the film from each other. When The film gets to the next town, one can (the one with the newsreel) has come loose and been dragged along the road. At first the projectionist cancels the movie, but the community is heartbroken. Soon they are all working together to save the damaged reel.

This is a story that reflects our love of cinema—even if it is Party propaganda. When the film eventually play, the audience sings along. This is more than just watching the moving shadows on a wall. This is an event that touches the whole community. There is certainly something to be said for watching this film in a theater with other people rather than sitting at home. It is also a story of family—not just the basic meaning of family, but also the family we can become with others.

Clint Bentley, director of Jockey, grew up in the world of horseracing. He hadn’t seen a film that accurately captures that world, so he made one. Jackson Silva is an aging jockey whose body is beginning to betray him. He hopes for one last great horse. Ruth, a trainer with whom he’s close, has a new horse that might be great for the two of them. But Gabriel, a young rookie jockey shows up, claiming to be Jackson’s son. At first, Jackson denies it could be true, but the idea warms on him, giving him a chance of a legacy beyond racing.

I’m something of a sucker for father/son stories. This one has an interesting twist in it. But it is also something of a meditation of mortality, as seen as the end of the life that Jackson has always known. The film is filled with scenes at sunset and sunrise (mostly sunsets) with beautiful skies. We understand that this is both a sunset and a dawn for Jackson and Gabriel. Jockey won the Audience Award for narrative films and opens in US theaters December 29.

Holy Emy, from director Araceli Lemos, is the story of two Filipina sisters in Greece whose mother was forced to return to the Philippines. Emy, the younger, has a special ability that her mother had. At times she cries blood. And she has the power to heal. Her sister Teresa tries to keep this hidden, so Emy won’t be taken advantage of. But a pseudo-mother who lives across the hall, has her eye on them. She knows that something is going on with Emy, and believes they have to baptize her to keep the devil at bay. Teresa is also dealing with a sudden pregnancy and a boyfriend who is more interested in what Emy can do than being a father.

This is a film that is filled with the color red—often blood. It also has a good deal of religious imagery and language. Yet, for all that religious feel, I never felt the film got to the serious religious questions that such a story raises. It seems to want a humanitarian basis for the use of such an ability, but it never seems to quite fit with what we are watching.

And we finish up with a few more shorts.

Johnson Cheng gives us Only the Moon Stands Still, a story of three generations of Chinese women in a failing dance ballroom. The ballroom may be closing, but for the youngest of the three the world may be opening up—if she’s willing to let her mother push her out of the nest. Only the Moon Stand Still won the Audience Award for short films. (22 minutes)

In Motorcyclist’s Happiness Won’t Fit into His Suit, Gabriel Herrera uses a motorcyclist to create a metaphorical reenactment of the hubris of colonialists. A bit too artsy for my taste. (10 minutes)

Sales per Hour, from Michelle Uranowitz and Daniel Jaffe, is set in a retail clothing boutique. The staff works at upselling through the day. But when they discover a sexual encounter in the dressing room, they face a dilemma about what they are willing to allow to keep sales moving.

Filed Under: AFIFest, Film, Film Festivals Tagged With: China, Greece, Healing, horseracing, movies about movies, shorts

The Rider – Spiritual Depth in a Cowboy’s Story

May 11, 2018 by Darrel Manson Leave a Comment

What happens when all you’ve ever dreamed of is taken away? That is a question that many films ask, but few answer it as beautifully and spiritually as Chloé Zhao’s The Rider. This is a partially fictionalized story set on the Pine Ridge Reservation. It blends fiction and non-fiction seamlessly to subtly blend hope and despair, beauty and starkness, suffering and healing.

Lakota cowboy Brady Blackburn (Brady Jandreau) is recovering from a near fatal rodeo accident. With a metal plate in his head, doctors have told him that he can’t ride anymore. But riding and training horses are all he’s ever cared about. The film begins following Brady with staples still in his scalp. As he heals, he longs to get back in the saddle, but for him it could be deadly. The film watches as he breaks a wild horse, first by talking, touching, and in time riding. Brady has a gift for calming a horse and gaining its trust.

With his friends Brady tries to keep up the hope that he’ll ride again, and they encourage him. Brady also visits Lane Scott, a rodeo rider, who was injured in an auto accident and can only communicate with one hand. With Lane, Brady speaks and touches in ways very much like he does with horses. He exudes gentleness and compassion.

One of the things I noticed in the film is that nearly everyone is injured and in need of healing in some way. Brady’s sister Lilly (Lilly Jandreau) has Asperger’s syndrome. There is a man with a hook of a hand. Brady’s horse Gus has a nose worn raw from rubbing a fence. But sometimes, things cannot be healed. His other horse Apollo is injured beyond help. It leads Brady to wonder why he rates being kept alive more than a horse does.

Although the film only occasionally is overtly religious (the film does have some excellent authentic prayers), its spiritual power is much more subtle. Healing in this film is rarely about the physical. It is the healing of souls that the characters engender in one another. Brady and Lilly both have severe handicaps, but their love for each other and their commitment to care for one another gives them strength and hope. Lane is completely wheelchair bound, but Brady sets things up so he can relive the experience of riding once again in a scene that may seem heartbreaking at one level, but at the same time, it is a powerful example of giving a friend a gift of regeneration—at least regeneration of the soul.

The Rider is the kind of film that may exhaust you from the depth that is hidden within its simplicity. But from that exhaustion one will come away with a renewed belief in the perseverance of the human spirit.

The Rider  received four Film Independent Spirit Award nominations.

Photo courtesy of Sony Pictures Classics

 

 

Filed Under: Film, Reviews Tagged With: Brady Jandreau, Chloé Zhao, Film Independent Spirit Award nominee, Healing, Lilly Jandreau, Native American, western

The Story of God with Morgan Freeman S2E3: Just Look

January 30, 2017 by J. Alan Sharrer Leave a Comment

(Photo Credit: National Geographic/Savas Georgalis)

I think there comes at least one time in every person’s life where s/he seriously contemplates if God exists. Perhaps it’s in a time where everything in life is falling apart and there is nowhere else to turn (see Job). Perhaps it’s a reflection about the words someone else has said on the subject.  It could even be a realization that something seems to be missing in life.  For me personally, it came from sitting on a vacant beach one afternoon and watching the waves crash on the shore.  My thought was simply this: “I cannot understand how someone can look at the ocean or the beauty of nature and not believe there is a God.”  The final episode of the second season of The Story of God with Morgan Freeman (Monday, 9PM/8CT Nat Geo) discusses the proof of God we all look for.  The answers have the ability to drive us right to him—if we’ll allow for it.

(Photo Credit: National Geographic/Seth Nejame)

In my opinion, this was the strongest episode this season by a large margin.  It felt like a return to the questioning, inquisitive nature that encouraged people to take an interest in faith.  Freeman showcases his usual alluring charm and sharp analysis as he introduces a number of ways people find personal proofs for God.  Sujo John’s story was fascinating—he survived 9/11 after climbing down 81 floors to escape. There’s more, but I won’t give it away.  These times of crisis will often drive us to a realization that God is real.  Of course, this also brings up the question of why God allows some to live and others to perish in situations.  John’s comment involved peace and the confidence that if he was to die, everything would be okay.

Some people see miracles as proof—the dancing of the sun in the sky in Fatima, Portugal (top photo) is one example. Some people find their proof in healing others via dead ancestors, such as villages in Namibia.  Others find God’s proof within themselves, like some Buddhists who have the ability to channel what they call “inner fire,” giving them the ability to raise their body temperatures through meditation. Many Muslims see their proof in the words of their holy book, the Qu’ran.  Even scientists aren’t immune to looking for proofs of God, as theoretical physicist Art Lovie shares by describing nature and mathematical equations that demonstrate the existence of life itself.

(Photo Credit: National Geographic/Reza Riazi)

Freeman ends the episode by noting that we’ll find God in the space between knowledge and doubt. If this is to be taken at face value, it means that somewhere within us is a space only he can fill. The French mathematician Blaise Pascal said something to that exact effect: “There is a God-shaped vacuum in the heart of every man which cannot be filled by any created thing.” Christians believe the form of the filling comes only through Jesus, who is proof of God in human form. He calmed the wind and waves (Mark 4:35-41), healed people (see Matthew 15:30 for one example), and even sweat blood at one point (Luke 22:29-44).  But without Jesus’ return to life after death, his life was lived in vain.  And yet God allows nature, individual situations, and other people to help bring about the filling of the vacuum.  This way, people are without excuse regarding a proof of God, because it’s seen every day (see Romans 1:18-20).  All that has to be done is to slow down, stop, and look around to see it.

I’m looking forward to a third season of The Story of God with Morgan Freeman.  There’s way more to God than meets the eye, and the show has just scratched the surface.  Who knows what will be found as we go deeper?

Filed Under: Current Events, Reviews, Television Tagged With: Art Lovie, Buddhist, Crisis, Existence, Faith, Fatima, God, Healing, Inner Fire, Jesus, Job, Morgan Freeman, Muslim, Namibia, National Geographic, nature, Pascal, Portugal, Proof, Proof of God, Qu'ran, Sujo John, The Story of God, Theoretical Physicist

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