For Your Consideration

The best joke I heard about the Super Bowl blackout was that it might have been an extended and rather spectacular "For Your Consideration" ad for Beasts of the Southern Wild, the elegant, eloquent, and elevating film set in the Louisiana environs near the New Orleans Superdome.That movie, to my mind the best of the nine 2013 Best Picture Oscar nominees, a group of films selected to climb the strange competitive ladder in which artists are expected to act like racehorses and producers like the colorfully-jacketed employees of the New York Stock Exchange, is a magnificent work of art. It's magnificent because it makes something hugely universal out of a tiny story, and art because it does this with supreme craft and political meaning.

It's the anti-Argo, an unconsciously self-congratulatory thriller that starts well, with at least a semblance of acknowledgement that the problems faced by modern Iran are partly America's doing, yet descends into a "white savior vs brown savage" cliche that would make Dances with Wolves look like it was written by bell hooks (who, for other reasons, doesn't like Beasts either). It should be obvious that there is so much more to Iran than angry mobs and ruthless cops, but portraying one nervous housekeeper isn't enough to reflect the pressing need for today's Westerners to face our complicity in a system of media and artistic representation and political belligerence that sustains the myth that Tehran’s streets are innately more primitive than those found inside the Beltway. So my recommendation in this Oscar month is that we take note of the nine films nominated by watching the best one, and doing eight other things instead of obsessing about gold statuettes. My modest proposals follow.

Read the rest of this post at Fuller Seminary's Reel Spirituality blog

With Gratitude for Richard Twiss

Richard-Twiss-2 My elder, mentor and brother Richard Twiss died, aged only 58, on Saturday February 9th, after a heart attack in Washington, DC. Since I met Richard four or five years ago, I felt close to him; and it's clear from the tributes emerging since his death this weekend that many others felt the same. I know that he loved me, that he wanted me to succeed, that he welcomed me as an immigrant into his native land. I will miss him a great deal. Of course, many others knew him better, and will memorialize him more elegantly, but I want to record some of the thoughts I've had since hearing of his sudden illness and death.

The first time we met, my friend Denise and I ended up sharing a tall round table with Richard in a Valley Forge, PA pub. Something in the air led us to decide to tell our best stories, our wildest versions of ourselves. I felt compelled to speak of the time I took all my clothes off in an attempt to intervene with someone who appeared to be close to a violent act, in a front yard in Santa Cruz; Richard laughed with me, the laughter of one who knows that sometimes a crazy fucked-up world requires crazy fucked-up interventions. It was the first time I had ever told that story. Richard had a way of helping you to find the better version of your story, and to live from a place of amused courage.

Next time I saw him we were in Atlanta for a public conversation on post-colonial theology, empire religion, and hearing the voices that are typically ignored. I was going through some personal difficulties at the time, and he invested time to listen and care; enough to call later to ask how things were going. Richard was realistic about personal suffering, and willing to sit in the ashes with you when you were going through it.

A month or so thereafter, we were at a gathering convened for leaders to offer mutual support and encouragement on the road. We found ourselves amidst an intense dialogue about sexuality and theology; a bunch of good people trying to come to good solutions about challenging questions. I spoke up, naming my own challenge: that the religious conversation about sexuality has scapegoated LGBTQ people and ignored both the wound and the gift of sexuality granted to each human being, whatever our sexual identity; among other things, I suggested that 'queer', for some people, has become a way of turning an insult into a sign of strength. That, so, yes, maybe I'm queer and I delight in my queerness - God has created me different (and you too), and I delight in my uniqueness. This can, with respect and care, be extended beyond the specific reference to sexuality, and apply to any form of difference that has caused marginalization, exclusion, or dehumanization. When we retired to the pub later, I announced that the four spaces in my car were reserved for anyone willing to identify with, or as, queer for the night: not as a token, but as a way of inviting conversation about the very thing we all seemed to want to address: who is 'them' and who is 'us', and how do we make journeys toward each other when the very roads we walk on depend on structures that have already committed genocide. Richard got in my car that night, and I'll never forget him walking alongside me in my own sense of vulnerability and loss. I don't know if he was afraid of what people might think, or if he even cared; I do know that, to him, solidarity with the marginalized meant more to him than his own reputation.

More recently, he taught me a brilliant lesson about success: when planning a large community gathering last year, I asked for his advice amidst my anxiety and fear that it might not work. His response was priceless: in my community, he said, we're so used to failure that we don't judge ourselves too harshly when things don't work out the way we wanted them to! And so, not for the first time, Richard helped me not take myself too seriously.

The last time I saw Richard Twiss, my elder, mentor, brother and friend, was two months ago; at the annual gathering that our friend Tony convenes. He led a substantive conversation about diversity in Christian contexts; and powerfully challenged us to respond to the fact that there is not one nationally recognized Native American Christian leader. My inner monologue wanted to scream 'But Richard! It's YOU! You are the voice we need to hear!' Of course he was speaking from a place of characteristic humility; and it has already been noted by others that he had recently spoken of wanting to take a step back from being on the road so much, and to spend time among his people, so perhaps he was speaking out of hope that others would come forward in his place. Whatever the case, Richard Twiss' voice was internationally recognized - and rightly so - for calling attention to his people's experience, suffering, and gifts. I am richer for having had the opportunity to hear it. I want to learn to listen, and as I pray for his family's comfort, and for his peace on what has now become this vast new journey, I want to commit to not forgetting what he taught me, how he showed me love, and why so many people loved him so much.

Following

following 1999 was the last great year for cinema until 2012 rolled around - and what might have been the greatest thing about it was the emergence of new/newish film-makers ready to reinvent the medium, and veterans trying to outdo them.  PT Anderson, David O Russell, Kimberly Peirce and Spike Jonze all released movies that firmly established themselves as new auteurs, 'The Blair Witch Project' shocked business mavens as much as audiences by showing how you could make a hundred million dollars out of a camcordered walk in the woods, and Michael Mann reinvented 'All the President's Men'.

Lost amidst the scrambling acclaim (and in some cases, genuine awe) inspired by 'Magnolia', 'Three Kings', 'Boys Don't Cry', and 'Being John Malkovich' was the feature debut of an English bloke with a tiny film, rejected by Sundance, and resembling nothing so much as a C-list noir made by a first year undergraduate who thinks he understands Nietzsche.  'Following' is a movie worth watching to remind yourself how beginnings are often messy, that making a film is bloody hard, and that the one thing (along with all the other things) that cannot be accounted for in the movie business is serendipity.  Its director, Christopher Nolan, went on to make 'Memento', 'Insomnia', 'Batman Begins', 'The Prestige', 'The Dark Knight', 'Inception', and 'The Dark Knight Rises'.  So you already know if you like him or not.  I do.  Very much.  He's a rare director - Nolan has massive industrial craftsmanship, a sense of aesthetics, and a moral vision.  The fact that this moral vision may seem ambiguous (he seems to support Bruce Wayne's inner struggle and heroic sacrifice for the sake of the economically marginalized, but presents an Occupy-style social movement as the domain of people who might arguably be labelled terrorists) reveals only that he, like the rest of us, is a work in progress; he's luxuriating in the freedom to make thought experiments that the world gets to see.

'Following' is pregnant with embryonic Nolanisms - huge close-ups, characters with shadowy inner lives, criminals aiming for class and ideas, violent set-pieces, and a twist ending.  It's a delight to visit it for the first time, perhaps most of all as a reminder of how much can made of limited resources.

'Following' is released on Blu-ray and DVD by Criterion.

 

 

Films of the Year 2012 (Part 3)

Check out part 1 and part 2 first... 16 Films of the Year, maybe best, maybe favorite, certainly the ones that inspired the most for me:

  • The Grey - an honest action film about death and monsters, as if Robert Bresson had directed The Thing
  • Django Unchained - which deserves more reflection than I can give on one too recent viewing, but seems to do for the Western what Inglourious Basterds did for the war film: made its tastelessness the obvious point, confronted the audience with our complicity in violence, and reimagined history from the perspective of marginalized people rather than those who typically control narratives.
  • The Story of Film - hugely ambitious, quixotic, romantic and personal in the best sense, a deep history of cinema and headlines of the 20th century sociocultural landscape, and 15 hours I would love even if I wasn't mates with the guy who made it
  • The Cabin in the Woods - a film about re-enacting the myth of redemptive violence that avoids re-enacting it
  • The Pirates! Band of Misfits - the single funniest night at the movies I had: the smartest comedy for kids and adults alike since Jim Henson’s heyday.
  • Moonrise Kingdom - about childhood and adulthood and the life in between, symmetrical in its physical design, rough-edged in its heart
  • Brave - Disney’s most pro-feminist film
  • Beasts of the Southern Wild - as elevating as Close Encounters of the Third Kind, and as socially valuable as Studs Terkel
  • The Dark Knight Rises - a definite tragedy, confronting the audience with our own communal selfishness in demanding a perfect king
  • Ruby Sparks - one of the best films I’ve seen about the creative process, the anxiety of influence, and the responsibility of power
  • The Master - so much has been written that it doesn’t bear repeating here, so I’ll just note how nuanced a film that portrays its dominant figure as a manipulative monster is when it allows for the possibility that his leadership might have some positive benefits
  • The Perks of Being a Wallflower - the most honest movie about high school I’ve seen
  • Looper - the third film by Rian Johnson, and the latest to imagine characters who want to take the lives of others seriously; a sci-fi delight that also reaches for (and touches) moral profundity
  • Holy Motors - a movie on fire with love and regret, for a partner, for people, for a city, for a country, for cinema, for life
  • Cloud Atlas - as if Star Wars, The Sound of Music, Blade Runner, The China Syndrome, Maurice, The Matrix, After Life, Ikiru, the Carry On films, Planet of the Apes, and The Last Temptation of Christ decided to get together and remake themselves as one massive holiday favorite
  • Seven Psychopaths - the most entertaining and thoughtful treatment yet of how to face the violence in our stories by telling a new one. And way more than that.

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Films of the Year 2012 (Part 2)

Continued from Part 1 Underrated Films of 2012:

  • John Carter (more fun and alive, and taking place in a more real world than anything in pulpy sci-fi since Flash Gordon)
  • The Hunger Games (surprisingly thoughtful engagement with the myth of sacrifice to absorb oppression)
  • The Three Stooges (touching and hilarious - but maybe it helps to see it on a plane)
  • Men in Black 3 (some may hate me for saying this, but in terms of his approach to time and visual imagery, Barry Sonenfeld has a Godardian imagination)
  • Jack Reacher (whose politics are more nuanced than you’d expect)

Over-rated Films of 2012:

  • Searching for Sugarman - a lovely story, but way too long, and felt a little too much of an attempt to shoe-horn a mystery trope into a narrative whose makers clearly already knew the ending before they started filming
  • Arbitrage - along with Les Miserables, less than the sum of its shiny parts
  • Argo - which tells about 40% of the story that deserved to be told: just once I hoped for a Hollywood treatment of Iran that would seek to do the Iranian people justice, rather than one in which a white savior rescues his own people (not an inappropriate companion piece to The Last King of Scotland, which was at least honest enough to have its hero flee Uganda and look guilty about it)
  • Wreck-It Ralph - a beautiful world, with hilarious grace notes, but a derivative story and ‘evil sissy’ homo/bi/transphobic stereotype for a villain (though I’ve agreed to see it again in case I’m missing something)

Worst films of 2012:

  • Man on a Ledge - offensively stupid
  • This Means War - offensively boring
  • Mirror Mirror - offensively psychopathic
  • Rock of Ages - offensively bland
  • Dark Shadows - offensively pet-projecty to the point of being of no interest to anyone not called Tim Burton
  • Prometheus - lacking even the appearance of an attempt at philosophical substance or narrative coherence
  • Ted - which made me laugh but whose gender politics are embarrassing
  • (Thus far I’ve only been able to sustain the first hour of The Hobbit, which I found interminably boring, but that doesn’t constitute a review.  I’ll see the rest of it and report when I’ve given Bela Tarr and David Cronenberg their due.)

Second best of 2012: 

  • Under African Skies
  • Safety Not Guaranteed
  • Killer Joe
  • Robot & Frank
  • Anna Karenina
  • Skyfall
  • A Late Quartet
  • Lincoln
  • Silver Linings Playbook
  • Killing Them Softly
  • Life of Pi

Best re-releases:

  • Titanic: magnificent epic filmmaking with a pro-feminist stance
  • Lawrence of Arabia - an anti-war movie about the human soul
  • The Life and Death of Colonel Blimp - an anti-patriotic film about the human soul

Best of the year, if only for one thing:

  • The Dictator (for the speech on democracy); Prometheus (for its visual design and actionist ambition - and for being the best-worst/worst-best movie-movie out there this year)
  • 360 (a monotonous and distancing film, but worth it for Anthony Hopkins’ remarkable AA contribution)
  • Hope Springs (for two wonderful central performances reflecting on aging and sex)
  • Flight (for a relatively honest depiction of alcoholism and the beginnings of recovery)

Part 3 later today - the 15 films of the year.  Not calling them 'best' or 'favorite', but these are the movies that I admired or loved the most.