After reading about it for the past few months, I found a copy of The Hidden God: Film and Faith on the new releases shelf of the university library during my lunch break today. Given the sensational coverage of film and faith in recent weeks, this collection of short essays is a breath of fresh air.
Kholin’s and Masha’s encounter is a desperate act of human contact, but it’s also vaguely degrading; it’s a moment of near transcendent delight, but it’s one that feels debased and compromised. I can’t make sense of it, really, though I feel compelled to, which is probably why Ivan’s Childhood is one of the few war films that I return to with any frequency.
I’ve never read another book like Sculpting in Time. In it Tarkovsky speaks as eloquently about art as he does faith and philosophy, and does so in a remarkably kind, concerned voice. To him, his subject —the unique ability of the cinematic image to touch the soul and inspire spiritual improvement — is quite literally a matter of life and death.