One of the most haunting scenes in Darren Aronosky’s controversial Bible epic “Noah” is when the Ark, freshly launched from its moorings into the rising floodwaters, rests calmly on the ocean surrounded by screams. The bodies of sinners cleave to rocks as the water rises and the screams are slowly snuffed out by God’s wrath. It’s haunting precisely because it captures the painful realities of God’s relationship with man, that man can deserve a horrific fate for his own decisions that is considered rightly just. It’s a scene that generates empathy for those screaming because the visceral fear is what we would feel if we happened to be on the wrong side of judgment.
It’s a scene that came to mind this past weekend watching Angel Studios’ recent post-apocalyptic film “Homestead,” which offers a harrowing look at a group of Christian survivalists hiding in an armed mansion in the Rocky Mountains after terrorists set off a dirty bomb in Los Angeles and seemingly spark World War III. Surrounding this massive compound are refugees and families begging for food and shelter from the chaotic outside world, which those inside cynically calculate is impossible to give without compromising their food supply.
The post-apocalyptic genre is compelling largely because of the moral greys it forces people to contemplate. Video games and TV shows that place their characters in life-or-death scenarios gain tension from asking how far you’re willing to descend in such circumstances — often suggesting that it’s perversely fun to be uninhibited by the moral relaxing of the world. Are you willing to kill to save your own life? If two equal factions are fighting over a common macguffin to survive, who do you choose to save?
Editor’s note: spoilers ahead.
With “Homestead,” Angel Studios has set out to embrace that sort of dark storytelling but with a Christian edge. The film’s characters directly correlate their mansion a metaphorical Ark against the rising floodwaters of the chaotic world, which the film further correlates by stretching the survival scenario for 40 days. However, the film ends with a twist after one of its leads is nearly killed in a standoff, with his wife choosing to open the gates of the mansion and trust that God will provide enough to survive. But in choosing love, the film’s final monologue posits that humanity’s surviving remnants sparked a golden age of love and fellowship by choosing trust over fear — tearing down walls and opening hearts and minds!
Faithful though it may be, it is a horribly saccharine ending for a genre that generally abhors sentimentality. It’s a blind leap into the unknown with an abandon that makes the ending of “Megalopolis“ feel comparatively tame. It also marks an abrupt tone shift from a movie that had thus far mostly depicted harrowing and bleak situations that had resulted in characters being injured, killed, or traumatized. […]
— Read More: thefederalist.com
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