I’ve never seen a film that translates grace to the screen like Babette’s Feast. As one of the rare films that focuses on the lined and battered faces of real people Babette’s Feast challenges viewers to love real life. The film embraces God’s love for the embodied, the ordinary and the value of the extraordinary, and a love that wastes nothing.
The Nativity Story’s Christmas card tableau evokes every nativity performance we have ever seen. But there is no triteness, sentimentality or forced piety in it because we have met this couple in the grimy reality of their village, in the crowded streets of Jerusalem and on the rocky paths to Bethlehem. We know that they are carrying out a difficult assignment, and that their hardest work is still ahead: they have to raise this infant to adulthood. Along with the familiar, The Nativity Story delivers unexpected moments that inform and inspire.
The first act of the satirical comedy Little Miss Sunshine has an affable scattershot loopiness. Frank (Steve Carell), an English professor hospitalized after a suicide attempt (he broke down upon losing his male grad-student lover to an academic rival), is released into the hands of his sister, Sheryl (Toni Collette).