MEA CULPA

US, 2024, 120 minutes, Colour.

Kelly Rowland, Trevante Rhodes, Nick Sagar, Sean Sagar, RonReaco Lee Shannon Thornton, Kerry O'Malley, Ariana Barron, Angela Robinson, Maria Gabriela Gonzalez.

Directed by Tyler Perry.

While the title is the name of the central character, those familiar with liturgy or just the popular usage of the phrase, Mea Culpa, means through my fault and is part of the prayer of confession and the asking for forgiveness.

Tyler Perry is a significant presence in American cinema, especially African-American cinema and African-American urban life. He has studios in Atlanta Georgia, has produced many features, also written and directed many of them. And he is a well-known philanthropist.

This film needs to be appreciated for its impact On the African-American audience rather than how it might play to a white American audience.

Kelly Rowland, best known for music and music videos, plays a top lawyer, but in dispute with her drugtaking, out of job husband. His brother is DA with hopes for becoming mayor of the city. His wife is Mea’s best friend.

Complications arise when a well-known artist is accused of murdering his girlfriend, public opinion against him, paparazzi pursuit, demonstrations against the art Gallery where is paintings are displayed. He approaches Mea to represent him in court, building up a conflict of interest because the DA wants to winning the case against him. An appeal to a judge says that the trial can go ahead.

If any audience has seen and remembers Jeff Bridges and Glenn Close in the 1985 Jagged Image, they will appreciate many of the similarities, the man accused of murder, his profession of innocence, the objective lawyer, succumbing to the charms of her client, compromised – and the final solution. However, the final solution in this film is not the same despite appearances to the contrary.

The film focuses on the behaviour of Mea, her anger with her husband, his subservience to his mother with terminal cancer, her heartless domination of her children and antipathy towards Mea. The most pleasant character in the film is Mikey, RonReaco Lee Shannon, Mea’s private investigator some of his information leads to Mea’s anger, and her liaison with the artist, based on a misunderstanding.

However, there are some twists tours the end, the alleged victim been found alive, and a sudden scenario of conspiracy of the family against Mea.

Some serious themes but designed as popular entertainment.

1. The title, Latin, Catholic prayer, confession of guilt – “through my fault”?
2. The Chicago settings, law, business, art, affluent? Musical score?
3. The work of Tyler Perry, producing, writing and directing, performing? His studios, output, for the African-American audience? Wider audiences?
4. The plot and the link with the thriller, Jagged Edge? Audiences remembering the plot, the central character innocence or guilt? The lawyer, the accused seductive? Audience suspicions – and the later discovery of the victim alive, the change of plot from Jagged Edge?
5. The introduction to Mea and Kal, counselling, disputes, the background of his drugs and loss of job, concealing it from his mother, the control of his mother, leaving the meeting? Mea, success is a lawyer, supporting her husband, tensions? The party for the mother, the mother’s aggressive behaviour, terminal cancer, treatment? Kal and his mother? His brother, Ray, DA and ambitions for Mayor, his wife and family, Charli the se and Mea being best friends? The tensions of the meal, the mother’s insults, dislike of Mea?
6. The murder case, the artist, the scenario, the disappearance of his girlfriend, traces of skull in his painting, the protests outside the gallery, the owner and her past fostering of the artist, refusing to take down his paintings?
7. The artist, Zyair, coming to see Mea, asking her to take on his case, chased by the paparazzi, his initial charm, frankness? Mea and her response, looking at the case, the damning evidence, paintings, the phone, the video accusing his claiming to speak the truth?
8. The issue for Mea, conflict-of-interest with her brother-in-law, his ambitions, the decision to go before the judge, his warning, accepting their positions?
9. Mea and Mickey, investigator, his following her husband, his going to rehab? Mickey and his personal style, devotion to Mea? His listening to Zaire, saying that he gave all the indications are telling the truth, but also indicating that he did not believe him? Mickey and his travels, Mexico, trying to track down the missing woman? The later information about her husband at the hotel, dire repercussions for her judgement and behaviour, and the revelation that it was a family gathering?
10. Interactions between Mea and Zyair, at the office, at his loft, her businesslike approach, the paintings, his explanations, her wanting boundaries, his powerful insistence against the boundaries, his approach, blindfolding her, the painting, the blue waves? Her continued questioning? The clashes, his apology, her wanting to withdraw, his acceptance of this?
11. Zyair and his seductive manner, audience reaction to him, reaction to Mea and her behaviour, the news about her husband in the hotel, the seduction, the painting, on the ceiling?
12. Mea and her visit to the gallery owner, her story, her behaviour, her recounting the seduction and the parallel with the painting and the picture on the ceiling? Mea going back, the range of paintings on the ceiling, including Charlise?
13. Mea and her withdrawal, going to the Dominican Republic, seeing the victim, chasing her, the police, the DA saying he would send his investigator?
14. The return, with the family, the revelations of the conspiracy, the mother not sick, Charlise and her husband’s revenge, fabricating the plan? Revenge on Charlise? On her? The fight, the violence, running, her husband, allegedly dialling 911, hearing the truth, crashing the car?
15. The irony that Zyair was telling the truth, his confidence in seductive manner, discussions about sexual behaviour? Mea, seduced, walking away at the end?

BAGHEAD

Germany/UK, 2023, 93 minute, Colour.

Freya Allen, Jeremy Irvine, Ruby Barker, Peter Mullan, Anne Muller, Svenja Jung, Ned Dennehy, Saffron Burrows.

Directed by Alberto Corredor.

Baghead is not a title that would draw in a large audience. Except, perhaps, for horror fans. One of the difficulties with horror films these days and horror film audiences is that there is a huge demand and expectation for blood and gore, increasingly, especially for younger audiences. But, this kind of wallowing is not appealing for an adult audience brought up on more traditional horror films. Which means then that the response to Baghead is more favourable from older audiences, younger audiences complaining that it is too slow, too tame…

This is British production with an international cast filmed at studios in Berlin. It is based on a 2017 short film with the same title by the writer, Lorcan Reilly and the same actor, Alberto Corredor. There has been a screenplay collaboration with Bryce McGuire, who made Night Swim at the same time (also bypassed as to tame)..

The audience is introduced to a rundown hotel in Berlin, deserted, crumbling, but with a sinister basement and a jagged hole in the wall. The host is Owen Lark, played by veteran Peter Mullan, 20 years caretaking, and a sinister creature beyond the jagged hole in the wall, a female creature, bag over her head, who emerges stumblingly on command. However, Owen has had too much, confronts Baghead, sets her and the building a light.

Then a transition to his daughter, Iris (Freya Allen) alienated from her father, but with her friend, Katie (Ruby Barker), suddenly discovering that she owns the building, a lawyer, a touch cadaverous, wants her to sell the building but she decides to sign the parchment deed of ownership.

When they go into the building, we are not surprised that there are sinister feelings, especially when they are shocked by a visitor, Neil (Jeremy Irvine) who is willing to pay them money to have an audience with Baghead, knowing that the creature will come out, shape-shift. He wants to say farewell to his dead wife but the person who emerges is his unloving mother. There is eerie atmosphere in the way that the shape shifts, skeletal hands to normal hands, the removing of the bag and the revelation…

As with this kind of tale, everything is not what it seems, Neil has ambiguous motivations, Iris wants to stay in the building, even to investigate the mysterious creature who is obedient to her command. Katie is much less enthusiastic.

So, a buildup to Baghead’s various appearances, confrontations, Iris having to come to terms with her father, the truth about the creature and the fire, conflict with Neil – and one of those endings which we might have expected but were not thinking that it would happen!

An adult horror film in the more traditional manner.

1. The title, tone, theme, characters?
2. The German setting, filmed in Germany? International cast?
3. The setting, the streets, vistas of the city, the old pub, the basement? Atmosphere? The musical score?
4. More traditional horror? Adult plot and themes? The contrast with the popularity of blood and gore?
5. The opening, Owen, his age, in the building, 20 years, Baghead, the bag and disguise, shape shifting? His video, setting the fire, his burning to death? The later reprisal of the scene, his failure to burn down the building? His life, alienation from his daughter? Thinking he had burnt the title deed? Iris inheriting it, her distance from her father, growing up, institutions, friendship with Katie? The final confrontation with her father, his explanations, the repetition of the burning?
6. Iris, age, ambitions, friendship with Katie, the solicitor, the explanation of the bequest, the building, he suggesting it be sold, run down? Her decision to sign? Going to the building, the initial impressions? Deciding to stay?
7. In the building, the dark, Neil’s presence, suspicions, his explanations? The ritual, the chairs, the basement atmosphere, the hole in the wall, the noise, the emergence of Baghead, the threats, Neil and his wanting to talk to his late wife, offering money, Iris finding she could command Baghead?
8. The shape shifting, Neil and the appearance of his mother, her saying she never loved him, the appearance of his wife, his desire to say goodbye, the reality of interrogating her, her wanting to leave him, the medication, the car crash, her death? Her saying she wanted to leave him?
9. The two-minute limit, going over, the consequences?
10. Iris, her visit to Neil, his explanations? Money no limit?
11. Katie, scepticism, participating, fears, seeking out the solicitor, the photos and the names, the truth about the owners, the list on the document? Her phoning Iris, coming back, the experience with Baghead, her death?
12. Neil, his return, bargaining with Iris? His wife reappearing, his mother reappearing, the commotion, Neil and his different desperation, Iris and her refusal, the chase, on the roof, Iris falling to her death? Neil and his motivation?
13. The return downstairs, Baghead, Neil, the appearance of Iris? Her being in control, the power?
14. Horror film for an adult audience?

VOLEUSES/ WINGWOMEN

France, 2023, 116 minutes, Colour.

Adele Exarchopoulos, Melanie Laurent, Manon Bresch, Isabelle Adjani.

Directed by Melanie Laurent.

As the title indicates, this is a strong women’s film. Leading characters – but as the French title suggests, the criminal aspect of their lives and careers?

The film has been cowritten and directed by French and international star, Melanie Laurent (who made such an impact in Quentin Tarantino’s Inglourious Basterds who has gone on to star and direct at home and abroad).

She is at the centre of the film, with Adele Exarchopoulos, two criminals, one a thief, the other a sniper, but rescued from the streets by an elegant but sinister woman who is known as Godmother. She is played by celebrated French star, Isabelle Adjani – and seen initially at a cinema watching the film starring Danielle Darrieux and Jean Gabby and, linking this film to the tradition of French classics.

On the one hand, this is a smiling comedy rather than laugh out loud. On the other hand, it is a caper and heist movie, scenes of action, chases in the streets, drones in pursuit, shootouts. And, there is a range of international settings and beautiful locations.

There is the theme of the arch criminal and the hold over the subordinates, talking about letting them go after one last heist, but still threatening them. And, the characters who are getting tired of all the action, would like to retire quietly but are required to do one last job.

A variation on popular buddy and comic action themes, French style, women’s style.

1. Title and tone? Graphic novel? Characters and action? The female perspective, characters, action, relationships, writing and direction?
2. A variation on the buddy comedy, characters and relationships, action together, ordinary, crises? The musical score?
3. The background of heist and capers, Carole and Alex, the opening, Alex and the rollerskating, the bruises, coming home, comfortable with Carole? The relationship? But their crime career? Killers? Their jobs, emotions? The initial action, the pursuit, the drones, their discussions about groceries and ordinary things, of the cliff?
4. The theft sequences, action, suspense, chases through the streets, the drones, shootouts?
5. The character of Godmother, Isabelle Adjani and her status in French cinema? Seen watching the film with Danielle Darrieux and Jean Gabin? The link to French classics? Her manner, age, control, the past and her rescuing the two, her hold over them, at her command? Her house, manner and style?
6. Carole and Alex, skills as thieves, sniper? The careers? Wanting to get out? Godmother and her hold over them, the threats?
7. The last job, the getting of the city plans, travel to cities, the arms dealer and weapons, going to Corsica, the target for stealing, the painting – and Godmother condemning it as kitsch?
8. Sam, Formula One, driver, in need of a job, the two recruiting her, the montage and training?
9. The finale, the action? Confrontation of Godmother? And the hopes for being able to live a life?

THE TROUBLE WITH JESSICA

UK, 2023, 89 minutes, Colour.

Shirley Henderson, Rufus Sewell, Olivia Williams, Alan Tudyk, Indira Varma, Sylvester Groth, Anne Reid.

Directed by Matt Winn.

There has always been trouble with Jessica. She is a novelist, sometimes reclusive, manipulative, tantalising in her relationships, and has just published a novel with references to her friends. She has turned up at a dinner at Sarah and Tom’s house, not entirely welcome. Sarah and Tom are also hosting a couple who have been long-time friends, Richard and Beth.

At first, this seems to be a variation on the Who’s Afraid of Virginia Woolf kind of gathering, some surface pleasantries, then difficulties emerging, criticism, insults, tantrums. But, after 15 minutes, looking for Jessica, they find she has hanged herself in the garden.

While the angry interchanges of the Virginia Woolf kind continue throughout the film, The Trouble with Jessica then becomes a variation on the theme: how do you conceal, then get rid of the body. This idea was popular in some of the small budget comedy thrillers of the 1930s. However, it became a significant theme when Alfred Hitchcock made The Trouble with Harry, 1955. In fact, Agatha Christie use the theme in The Spider’s Web. And, at the end of the 1980s, there was the American comedy, Weekend at Bernie’s. What to do with the body? How to conceal it?

The two couples are middle-aged, have known each other since they were young. After the shock of Jessica’s suicide, Sarah, who had had an altercation with her, takes charge, wanting to conceal the death, with a plan for the body to be transferred to Jessica’s house and set up as a suicide there. Tom more or less goes along with this plan. One of the reasons for the plan is that they are in financial difficulties, need to sell the house, have an eager client who wants to buy and they don’t want a body to be in the house when they come to inspect.

Richard is a practising lawyer, defence lawyer, quoting legal practice but somehow rather persuaded to join in the plan by Sarah threatening to reveal some dubious actions in the past. Beth, on the other hand, want to immediately go to the police, dials 911, the police turning up, pleasant exchanges, one of them discovering the desert, one of his favourites! And, a neighbour comes to the door eager to meet the writer and to get her to autograph a book.

With a lot of interchanges and recriminations, exposures of each of the characters, Richard having had an affair with Jessica and Beth’s wanting a divorce, Sarah being dominating, Tom acquiescing. The prospective buyer turns up to look at the house, the concealing the body under the stairs, the visitor wanting to look inside the cupboard, their getting the body upstairs, his leaving.

The atmosphere license, Sarah standing guard, they get the body into the car, drive to her flat, a police car pulling up beside them at a red light, a couple in the corridor, but they get the body into the room and the set up.

On the return, the prospective buyer, an affluent German businessman, returns, elicits the secret from them, wants to settle the sale immediately and, with some moments of hesitation, there is agreement. Sarah and Tom is saved but Sarah suddenly changes her attitude, wants to call the police. This is all to do with a reference in Jessica’s book and Tom, while the audience obscene flashbacks, admits an occasion with Jessica before they met. Richard then confesses that he has had the affair but, by this time, Beth has somewhat calm down after participating in the setting up of the suicide.

The film has a top cast, Shirley Henderson top lining the film as Sarah, with American Alan Dudek is her husband. Rufus saw and Olivia Williams are the other couple. And the cameo scene of the neighbour wanting the autograph – and it was an angry when the car with the body is about to leave and she is upset that the author will not come out of the car – played by Anne Reid.

There is one barrier that many commentators have noted – the proliferation of swearing throughout the film, judge it excessive, and many surprised at this group of actors, including Anne Reid, prepared to mouth such constant coarse language.

Second General Councillor, Fransiskus Bram Tulusan MSC.

We continue our series on our new General Council.

My name is Fransiskus Bram Tulusan. I was born in Kotamobagu, Indonesia on October 20, 41 years ago. My first vows was in 2003 and ordained as a priest in 2011. The most of my ministry was spent in formation houses (2010-2023). The last three years have also been involved in safeguarding ministry, which is a new and very challenging mission.

The experience of being MSC for 20 years has made me strongly discover that being God's heart in the world is a mission that will never be completed. We cannot say ‘enough’ about being God's heart in the world because this is a mission that demands continuous self-giving just as Jesus who totally gave himself for us. Being God's heart in the world has always been my spirit in carrying out any missions given by the church and congregation.

Always do not make yourself the center but make yourself as the channel of His grace for anyone. In the last general chapter I was elected as a member of the general council in Rome. A mission that I had never imagined before. There was a big doubt inside about how come or why me? I was reflecting hard about this. And then the experience emerged when I always reminded the formandi that being a missionary means being ready to be sent out anytime. So whenever the congregation calls we must be ready to answer. On behalf of our mission my answer is yes for this mission.

God has pulled me out of my comfort zone all this time and sent me to go to a deeper place.

RIP Anthony (Tony) Kelly CSsR., 1938-2024.

Michael Kelly CSsR writes: I am sad to inform you that Rev. Professor Anthony J. Kelly CSsR died this afternoon (Sunday 3 March) at 5:50 pm at Nazareth House in East Camberwell. Michael Mason CSsR, his brother Geoff FMS, and I were there for a number of hours this afternoon, but both Michael Mason and I had to leave before he died so the information was conveyed to me by Geoff who was present. His sisters visited him recently.

It has been a long journey for Tony since he had  a massive stroke in January 2023, but he passed peacefully and is now with the Lord.

He has been an extraordinary contributor to the theological community in both Australia and internationally. His gift to many younger scholars through supervision and writing has been immense. Of course his character made him known and loved by many.

He will be greatly missed by confreres, family, colleagues and his many friends

Chris Monaghan CP, YTU President writes: Last night Tony Kelly CCsR (YTU President 1980-85, 1994-1997)  died peacefully and is now surely delighting in the beatific vision he so lovingly and poetically described for us. He was a poet, theologian, author, and supporter of new generations of scholars through YTU and ACU. It is said the reason we can see so far is because we are standing on the shoulders of giants - Tony has been a giant among us and we are all so much the richer for it.

Tony a member of the Vatican Theological Commission

And a personal tribute to a friend for 60 years, a colleague at YTU from the beginning, a co-teacher, though his meditatively-paced presentation contrasted with my galloping through history, encouraging the research that led to the Heart of Life Centre, frequent contributor to Compass Theology Review, suggesting that we refer to it as ‘Topical Theology’, kindly writing the Foreword to The History of Compass…

While many of us remember his bon mots, like ‘To What Purpose?” instead of ‘Why?’; his nuanced comment that ‘Some people are not plagued by self-doubt’; and, as we enjoyed his sonorously- articulate utterances, ‘I am not without my mimics’. And his lengthy poems at the YTU Revues – he was President of YTU for 10 of its first 50 years. He contributed while unwell to the book on the 50 years of YTU, a touch of his testament to his role in Australian theological education.

A final word that I have treasured for half a century now. In an article on Word and Story in Compass, he noted that when God become incarnate, he did not come as dogma or doctrine but as story. And he added, “We are part of the autobiography of God.”  Peter Malone MSC

A film to see, Cabrini, the life and ministry of St Frances Xavier Cabrini.

Cabrini – Frances Xavier Cabrini, born in Lombardy in 1850, on mission to New York, 1889, 28 years of enterprising activity, died 1917, beatified 1938, canonised 1946, the first American citizen to be canonised.

Frances Xavier Cabrini established a religious congregation, the Missionary Sisters of the Sacred Heart, whose motto is taken from St Paul: “I can do all things in him who strengthens me.”. 40 minutes into this portrait of Mother Cabrini, we hear her say these words. And, by this stage of the film, we know that this is true. But, there are almost 2 more hours or – an extraordinary extension of “all things”.

The tone is set in the prologue, a young boy, Paolo, close-up on his face, dragging a wheelbarrow, his mother dying of typhus, the New York streets, his calling out for help, in Italian, everybody ignoring him, a policeman accosting him, giving an address where the sick woman could be taken, but she dies. Paolo will later appear in this story.

Then the transition to Italy, a young woman in a religious habit, close-up of her face, the camera dwelling for a long time on her face, inviting us to respond. Throughout the film, the camera will focus on Mother Cabrini’s face, mostly intense, often sad, rarely smiling, but absolutely determined in her goals, and in her confidence on God’s Providence. And she often states that if you begin the mission, the means will come. 

The shrine in Washington Heights New York where Mother Cabrini is buried

Frances Cabrini had a dream of establishing orphanages in China, a compassion for needs in Asia. She has been refused by Vatican officials, eventually visiting Rome, demanding a meeting with Pope Leo XIII, (Giancarlo Giannini) his acceeding to her wish, cup of tea together, his being impressed by her zeal, and the suggestion of a mission in New York. She and her sisters travel, steerage, her looking out on the Atlantic, her fear of water, flashbacks to her almost drowning, being rescued, recovery, but permanent damage to her lungs. Which means that she sees any time not devoted to her mission as, simply, loss.

Mother Cabrini is played by Italian actress, Cristiana Dell’Anna, always intense, an intense interiority, no histrionics. This is a determined woman of faith, the language of faith (though no scenes of prayer and community – and one might have expected some emphasis on her Sacred Heart devotion, though some glimpses of statues and paintings.)

The artwork on her ministry on the Shrine apse.

Filmgoers who remember Martin Scorsese’s Gangs of New York, will resonate at the reconstruction of Five Points, built on sewers, squalor, many Italian migrants, not yet speaking English, and despised by so many of the locals, called dagos, guinea pigs, seen as less than human, insulted in the streets, denounced by the local authorities, wooden shacks, but youngsters taking refuge in the underground tunnels and channels, put to menial jobs, often in physical danger. Mother Cabrini goes instantly into action, rescuing children, encountering a young prostitute and clashes with her vicious pimp, continually finding accommodation, looking for buildings, looking for support.

There are many scenes of her confrontations with the Archbishop of New York, Archbishop Corrigan (David Morse), Irish background, reluctant to help Mother Cabrini, urging her to return to Italy, but her continually confronting him. Then there are the local powers, the mayor, John Lithgow portraying him as supremely arrogant, politicians and police under his control, the local police who despise the Italians, ride roughshod over a crowd gathered at an Italian festival in a park.

Mother Cabrini is of strong Italian stock, strong Italian attitudes (and grew up in strong anti-clerical times), ready to confront anyone, Archbishop, Mayor… When she enlists the help of an opera singer, moved by Pagliacci, he refuses because of his antagonism towards the church. When she organises a children’s choir to serenade him at his mansion, he relents, joining in the fundraising. Despite opposition and setbacks, her forte was in persuading people to support her. And her mission forte was the continued outreach, confident in her outreach.

In the 19^th century, while women did not have a place in church governance, there were many strong women who ran hospitals, schools, exercising this kind of church leadership. This is to the fore in this screenplay, Mother Cabrini and being a pioneer in feminism, the film’s dialogue uses convincing feminist language to highlight the power of women: the Mayor suggesting she should have been a man, Mother Cabrini replying that men cannot do what women can do.

The screenplay indicates what was to come, orphanages, but, especially after a deadly subway explosion, the need for hospital, the beginning of Cabrini hospitals in many parts of the world. Despite political sanctioned arson, she keeps going. Final close-up of her, intense, determined, her interior confidence in divine Providence, and the information given about what she referred to as her “Empire of Hope”, 67 institutions, her congregation and its outreach throughout the world.

A cinema biography in the long traditional style of such stories, moving, challenging audience compassion.

RIP, Joe Gleixner MSC, 1938-2024, US Province

From the US:  This morning, March 1, our Fr Joseph Gleixner, MSC went to his eternal reward. Fr Joe was a long serving missionary sent to the Diocese of Kavieng in Papua New Guinea. May he now rest in the love and peace of the Sacred Heart of Jesus.

Many in our Province knew Joe -as a student in Rome in the early 1960s, from his long time in PNG, or meeting him in the US in his retirement.

Visit of Cardinal John Ribat MSC

Some photos – and activities for seniors of the Province.

2019. Every year the Folk choir of Holy Family Parish, Nazareth, PA shares dinner with us and performs a concert after dinner. Inspire of the distraction of the Eagles play off, we enjoyed and truly appreciated the talent of this choir.

2018  DeSale U Physical Therapy Doctoral students come once a year for practice and learning. group exercise

Archbishop Rochus Tatamai MSC paid tribute to Joe Gleixner

May his soul rest in eternal peace. The faithful and the Clergy of the Catholic Diocese of Kavieng Lorengau owe you their sincere gratitude with fond memories.

MSC Victoria/Tasmania 2024 opening gathering.

The Community has 18 members, 16 in Melbourne, 1 in Hamilton, 1 in Hobart.

A reminder of who’s who!

Blackburn: Dominic Gleeson, new Community Leader; Khoi Nguyen, Novice Master; Mark Hanns, Student Director, Alo Lamere, PP St Thomas parish; professed students: Trieu Nguen, Daniel Magadia, Hoa Quoc Tran, Vincent Phong Phan; novices (from March 15^th, Van Long Tran, Nang Dinh Vu.

Kew: Paul Castley, Peter Malone, Philip Malone

Northcote, Little Sisters of the Poor, Michael Sims

St Thomas, Community Retirement Village, Forest Hill, Brian Gallagher

Mont Albert: Frank Andersen

Hamilton, resident at Monivae, Ted McCormack (absent)

Moonah, parish priest, Parthalomai Panlyadimai (Bartha) (absent)

Peter Curry moved last week to St Mary's Towers after 23 years

The community gathered at Cuskelly House on March 1^st, time for prayer and reflection, a renewal of vows to begin 2024 (with Krish Mathavan visiting for sessions at Heart of Life),

our meal, and the students going to the opening Mass for the year

at YTU,

The Yarra Theological Union.

At YTU,  Hoa, Daniel, Vincent, Geralyn (Gigi) Anderson, Blackburn parishioner, Communications manager, Heart of Life Centre.  (Absent, Trieu, sick)

Thanks to Hoa for photos.

First Friday, March. Have you heard of the Day of Unplugging?

The Carolinian

Just what is the Global Day of Unplugging? Well, it is no secret that we are increasingly connected to the world around us. Smartphones, tablets, WiFi access and the Internet have enabled us to be connected to the entire world 24 hours a day, 7 days a week, every single day of the year.

There are times in our lives when we seem to forget just how necessary it is to step back from out digital devices and other gadgetry and actually perform the ancient art of speaking with people around us and observe the world that is all around us, and not just the pixels forming images of reality on the screen in front of us.

Trinity Church Facebook

For Lent, for the First Friday - Unplug from the electronic world — experience nature, talk to people, and, if even for a short while, live life without screens.

(From the site: daysoftheyear.com)

And a late post from the General Administration, following the laudato si steps for 2023