There’s a rumor going around about heaven. It’s been bruited about by well-known theologians, sharp-tongued satirists and social critics (Mark Twain among others), but it’s not really a very subtle point: The life of eternal blessedness sounds boring. My five-year-old son Andy voiced this concern early one morning while he was bouncing on the bed where I was trying to sleep.
In Oscar nominee Crash, writer-director Paul Haggis examines the U.S. racial divide in a series of interconnected short dramas that reach a powerful conclusion. It is a painful film to watch because Haggis offers no comfortable side with which the viewer can identify—until, that is, a conclusion provides a note of grace-filled hope. The racial bias of both black and white characters is exposed, leaving everyone culpable. As in many Krzysztof Kieslowski films, there are moments that suggest a transcendent hand is at work.