Commercial and bureaucratic hindrances collided with an uncontrollable reality: the faith of many players.
Will Eisner invented the comic for adults in 1978 with a story about the crisis of faith of a Jewish immigrant.
“Arrival” is not a film about aliens, but about the problem of human communication.
Through his mysterious death in Paris in 1971, the charismatic and self-destructive Jim Morrison managed to create a legend.
The monsters and ghosts in “The Shining” are real, but they live within us.
The main character of Himmelweg is a Red Cross worker who is an accessory to manipulating History, by covering up the truth of what really happened in a Nazi concentration camp.
According to Endô, the Catholic Japanese author whose book is the basis of Scorsese’s new film, “Silence” isn’t about God’s silence, but about how God speaks through silence and trauma.
His autobiography “Porcelain”, introduces us this militant vegetarian, who defends animal rights, does not drink, smoke or take drugs, but confesses being addicted to porn.
Felix Mendelssohn (1809-1847) converted to Christianity when he was young, going on to become one of the foremost Protestant composers.
The final banquet that closes every Asterix book reflects humanity’s yearning for a happy ending.
The new man, dreamed up by el Che, does not exist and will never exist, if he is not born from above.
One of the last biographies published about the Nobel literature prize winner says that Dylan has never rejected his faith in Jesus. But the lyrics of some of his songs reveal a spiritual battle.
It would be a mistake to think that their story was nothing more than the nihilism of hopeless youth. Their rage was a cry of rebellion against an empty life.
In the most award-winning series at the Emmys, sin is not sweetened to make it more attractive, but it is shown in its most repulsive light. Is this a glorification of evil, or its complete opposite?
The main character in “Bridge of Spies” not only believes in the power of the word, but also seeks to identify himself with the other, with the enemy.
The last book by the philosopher Manuel Cruz looks into our “systematic quest for exculpatory arguments”.
The modern-day relevance of Wilde’s book could not be any clearer: a new hedonism, the cult of eternal youth, when in reality it is just the vanity of fleeting beauty.
It is impossible to understand Prince (1958–2016) without one of these two powerful forces, but the same could be said of many of us.
Glenn Frey (1948-2016) was the soul of The Eagles. The band’s success allowed them to enjoy everything that life had to offer them. The conclusion that they came to could not have been more disheartening.
Scorsese and Schrader’s film revolves around the search for redemption in figures such as Travis, who are buried in an urban inferno, constantly fighting to free themselves of their sins.
The latest film by the Coen brothers, “Hail, Caesar!” presents us with the problem of the ministry of the gospel on screen: how to see in order to believe.
In “Mia Madre”, the director Nanni Moretti offers a personal description of the bewilderment caused by the disorder in the world.
“Spotlight” wins Oscar for Best Movie without falling into morbid sensationalism. The film makes us face up to a truth the religious audience does not want to hear.
“Return to Ithaca”, by the French director Laurent Cantet, portrays a weariness of life, but also a sense of anger, which goes beyond disillusionment.
Our character, relationships and even our spirituality are reflected in these books. Christians, however, have launched a campaign to prohibit the books in schools and libraries, some going as far as to burn copies in public.
“Life”, by the Dutch director Anton Corbijn, is a film about James Dean’s tempestuous life, offering us a touching insight into his experience as an orphan.