Mary Miller’s The Last Days of California exactly captures an important aspect of the sort of rapture-ready Christianity I was raised and educated in: the unwillingness to face mortality that’s probably at the root of many people’s eager embrace of an imminent apocalyptic eschatology.
In theaters now, Nicholas Cage is taking us to the beginning of the end of time. A time when passengers vanish mid-flight, cars lose their drivers, and those who aren’t raptured face a violent world and a monumental choice: follow the Antichrist toward destruction or follow the righteous and be saved from the world. It’s the end of the world as we know it, and no one’s feeling fine.
Years ago, when the Left Behind series topped the bestseller lists, a friend and colleague of mine was on fire over the books.
In the weeks leading up to May 21, 2011, young filmmaker Zeke Piestrup asked radio-show host and apocalypse predictor Harold Camping if he could accompany him in the final days of the world. Piestrup was not a believer, and he planned to make a film about Camping’s apocalyptic prediction. Still, Camping welcomed him as a companion.
While my home church sang praises to King Jesus and also ran a food pantry, the Feast of the Reign of Christ boldly proclaims that the hungry won't be hungry forever. While others in the '60s juxtaposed sweet harmonies with earnestly social lyrics, Dylan conjured a complex vision of social upheaval—a vision both threatening and profoundly hopeful.
Lars von Trier has been churning out grim tales of human frailty and
moral depravity for almost 20 years. His latest is a disturbing tale of personal pain juxtaposed with an eerie end-of-the-world story.