Agora creates space to discuss faith and power
For movie buffs, there's nothing quite like a film festival to create that kid-in-the-candy-store feeling, and the Toronto International Film Festival (TIFF) has treats aplenty. With 300 films being screened and a history that includes launching several prominent Oscar winners (Slumdog Millionaire, Crash and Chariots of Fire), TIFF continues to be a command performance for industry insiders and fans, alongside Cannes and Sundance.
The caveat to the overall enjoyment of TIFF is its subtle and not-so-subtle pandering to fawning media types and a celebrity obsessed culture. Too much red carpet leaves me somewhat cold: George Clooney's tuxedo choice or Megan Fox's décolletage don't have a lot to offer a serious art form. Nonetheless, in the midst of such hoopla and occasional histrionics, the art of film and its appreciation emerges as the true centre of attention at TIFF. Repeat visitors to the festival maintain that knowledgeable audiences make this festival one to be enjoyed and taken seriously.
Numerous films here explore areas of spirituality, faith and religious questions in all their complexity. One such film is Agora, written and directed by Chilean filmmaker Alejandro Amenabar (The Sea Inside) and co-written by Gil Mateo. "Agora" is a Greek word that means "marketplace," and the title figures both literally and figuratively in the events portrayed.
This is an epic film that explores Egypt in the 4th century A.D., replete with Alexandria's fabled lighthouse, famous library and massive crowd scenes. Its use of computer generated imagery is almost seamless, and there are enough overhead shots and views of earth from space that I fully expected to see NASA appear in the film credits.
The setting depicts a time of massive change as the structure provided by the Roman Empire is declining and religious factions are fighting for control of Alexandria. These groups include the devotees of the traditional Egyptian gods who support the status quo, a sizeable population of Hellenic Jews and supporters of the upstart religion that was making substantial gains across the whole empire—Christianity.
The central character of the story is Hypatia, a real-life historical figure played by Rachel Weisz (The Constant Gardener), a well respected teacher and philosopher who devotes most of her time to teaching and pursuing progressive theories on the movement of the cosmos. Significantly, she admits no religious allegiance. Her story unfolds amid the unrequited love of two men in her life. Her character is engaging and the pathos surrounding her final fate is sobering.
The portrayal of Christians in current film is always of interest, if not concern, to contemporary Christian audiences, and Agora provides much food for thought. We see Hypatia's slave and rebuffed admirer, Davus (Max Minghella), embrace the faith but get drawn into the ranks of the Parabolani, a radical monastic group historically known for its care of the sick and dying but also portrayed as one that will use violence to achieve its ends. Her other pursuer, Orestes (Oscar Isaac), eventually becomes Prefect, and his commitment to the Christian cause appears to be motivated by political expediency—certainly common enough at the time.
The Christian mob is certainly culpable on many levels, as they are shown to be responsible for sacking the great library, burning its contents and turning it into a barn. Amenabar, to his credit, extended himself in a pre-screening interview to say that the film was not targeting Christians per se, but rather any group who uses violence to promote its own ideological ends.
In this respect, he is certainly correct, for in this story, violent clashes are also instigated by the Egyptian pagans as well as the Jews. Commendably, the film includes a scene in which the Beatitudes are read aloud by a priest—an act which subtly juxtaposes the teachings of Christ with the violence taking place in His name.
It's not yet known when Agora will be released in North America, but its appearance will provide an excellent opportunity to continue the dialogue with contemporary culture on the interplay of faith and power.
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