At a time of rapid secularization, filmmakers seem intrigued—if sometimes also repelled—by religion.
Personal conversion is part of social change, but we can’t end our stories there.
Jordan Peele’s new horror film reveals the pasts we are all tethered to.
Can memories of childhood joy really make up for predatory lending and labor busting?
In Cuarón’s film, both love and violence come in waves.
If whiteness is a fiction, it's one that does a lot of damage.
Elastigirl is the hero we need.
Ernst Toller is not so different from the male anti-heroes at the heart of Paul Schrader's earlier, more sensational films.
Literature and film from England, Hungary, Japan, and Korea
Across the globe, cinematic portrayals of Christianity are increasingly emphasizing its faults.
In Ocean's 11, the thieves' sheer coolness reeled us in. It's a harder sell when the heroes day-drink themselves to sleep.
Adam and Matt talk with Bromleigh McCleneghan about sex, community, and purity culture after watching the movie Saved! (2004).
Robert Bresson’s films are adventurous, brooding, and deeply religious.
2014 has been described as the year that Hollywood found faith. But if the first-ever panel on faith and film at the Sundance Film Festival is any indication, the discovery of theological depth is still quite a ways off.
Lars and the Real Girl shows the power of the visual medium to tell a theological story. I not only felt that I knew Lars, but that I knew myself through his fear of the tangles of relationship, his anxiety about the need to be transformed, and his desire to put transformation off as long as possible.