Mary Magdalene

In the film, Mary Magdalene (2018), Mary Magdalene and the other disciples have two different interpretations of the Kingdom of God; these may be called the interior and the eschatological, respectively. The Kingdom of God is within, already and not yet fully realized, or not yet at all, as it will be ushered in by Christ in the Second Coming, which is yet to come. The film’s point of view is decidedly with Mary’s interior interpretation and against Peter’s revolutionary (i.e., against Roman oppression) eschatological take. After both sides fail to convince the other, Peter sidelines Mary in part also because of her gender, so she decides to preach and help people on her own. That the film does not portray Jesus and Mary as romantically involved is a smart move, for it sidelines a controversy that would otherwise distract the viewers from focusing on the question of the nature of the Kingdom of God. This focus is long overdue in Christianity, and is important because only one of the two interpretations—the eschatological—has dominated historically. The film is valuable theologically in that it gives the minority position—Mary’s interior interpretation—a voice. To be sure, Mary Magdalene is a controversial figure, so the choice of that character as a mouthpiece in the film for the minority theological position on the Kingdom is daring and not without its drawbacks. For one thing, she is a woman in a man’s world in the film. Outside of the film, in real life, a medieval pope denigrated her by erroneously identifying her as the prostitute in the Bible, and her reputation had to wait until the twentieth century for the Vatican to correct the error and label her as the Apostle to the Apostles. Finally, there is the Gnostic gospel, The Gospel of Philip, in which Jesus kisses her and the male disciples ask, “Why do you love her more than us?” That jealousy is present in the film, and plays a role in the dispute between Mary and Peter on the nature of the Kingdom. So, returning to the film, having her as the mouthpiece for a minority position that has not seen much light of day historically in Christianity puts the credibility of the interpretation at risk. Accordingly, it may not have much impact in shifting the emphasis away from the eschatological Kingdom in the religion, given the tremendous gravitas that any historical default enjoys.

The full essay is at "Mary Magdalene."

The Exorcist

One of the most iconic films of the horror-film genre, The Exorcist (1973) focuses on the duality of good and evil that the film’s director, William Friedkin, maintained is in a constant struggle in all of us. The dialogue between the two priests performing the exorcism on the one side and the Devil possessing Regan on the other not only reveal the duality, but also the essence of evil itself. Once this essence is grasped, interesting questions can be asked that are distinctly theological, as distinct from modernity’s trope of evil portrayed in terms of, and even reduced to, supernatural movements of physical objects. The decadent materialist version of the theological domain stems from modernity’s bias in favor of materialism and empiricism. In other words, highlighting supernatural physics as being foremost in representing the religious realm is how secularity sidelines religion, rather than how religion itself is. The bias of modern society is very clear in the film as the “professionals” go through alternative explanations first from the field of medicine, privileging the somatic (physical) and then the psychological domains of medicine. In other words, the narrative establishes (or reflects) a hierarchy of three qualitatively different levels of descending validity: the somatic is primary, and only then the psychological, and, if the first two do not furnish an explanation, then, and only then, are we to turn to the theological as metaphysically (i.e., supernaturally) real primarily shown by physical objects defying the laws of physics. Science, rather than religion, is thus still in the driver’s seat. The bias in favor of materialism is in the assumption that only after feasible hypotheses from modern medicine are nullified can theological explanations be considered (as credible). In this way, the film reflects the hegemony of materialism that has taken hold since the Enlightenment, and the relegation of the theological as “magical” supernaturalism, as in a bed levitating of objects flying around Regan’s bedroom. The essence of evil is instead interior. If religion is a matter of the heart, then how could evil be otherwise?

The full essay is at "The Exorcist."