LUTHER: THE FALLEN SUN

UK, 2023, 129 minutes, Colour.

Idris Elba, Cynthia Erivo, Andy Serkis, Dermot Crowley, Thomas Coombs, Hattie Morahan, Lauren Ajufo, Vinccnt Regan.

Directed by Jamie Payne.

British actor, Idris Elba, starred in the British television series, Luther, playing tough Detective, John Luther, the series having seasons, generally brief, 2011 to 2019, 21 episodes in all. There had been plans to make a feature film but various difficulties arose until this film, short time in cinemas, then released on Netflix in early 2023.

The film was written by the creator of the original series and writer of the episodes, Neill Cross. It has been directed by television veteran, Jamie Payne.

While Idris Elba reappears as Luther, the only other character from the series to reappear is his boss, Martin Shank, played by Dermot Crowley, now retired from the force. His place is taken by Odette, Cynthia Revo, British actress who made an impact in the United States by portraying abolitionist, Harriet Tubman (Oscar nomination) and, for television, Aretha Franklin. Elba had also been very successful in the United States in The Wire and many a feature film. It is good to see them in the British context with their own accents.

There is a complication for Luther, a serial killer targeting him, bringing charges against him and Luther being imprisoned – but, of course, his engineering and escape to continue his prosecution of the case.

The murder is revealed from the beginning. His played by Andy Circus, so well-known for portraying Gollum but also other villains. He appears as himself except for a rather large (and off-putting) wig.

The film is rather graphic and some of its portrayals of the murders, especially embodies hanging in the basement of a mansion.

There is tension between Luther and Odette, her wanting control of the case, but this changing when her daughter is abducted by the murderer. Luther interviews the mother of one of the murder victims and bills up a portrait of the murderer, following leads especially with a special radiofrequency, a situation in Piccadilly Circus, the murderer organising a number of people to fall from the ruse of the buildings and cause chaos – and his escaping.

Gradually, his motivation is revealed, especially a visit to his mother who was severely burned in a fire. He targets peoples with people with weaknesses, blackmails them, kills them – and has a link on the continent where he is setting up a special dark web website and getting a number of sadistic way are clients (all male).

There is a vivid climax on the continent, in the snow, on the ice, confrontation with the villains, Odette and Luther and the rescue of the daughter.

Even while watching it, the film does seem a bit far-fetched – but, it moves with quite a pace, and those who enjoy this kind of detective thriller will go with the pace.

1. The popularity of the television series? Over a period of 10 years and more? A feature film, Idris Elba, Dermot Crowley reappearing? The original writer and his screenplay?
2. The British series, the British tone, British police, authority, regulations, detection?
3. The British settings, the city of London, overviews, the streets, buildings, police centres? Homes, home for the elderly? The prison sequences? The mansion, the basement, the terror chamber? The snowclad sequences, the mansion, the basement, the production centre, screening? The musical score?
4. The opening, the young man cleaning, the phone call, the rendezvous, the dead frozen body, the man appearing from the ground, the disappearance of the young man? The arrival of the police, Luther, associates?
5. Audience knowledge of Luther, the television background, personal life, death of his wife, his style of policing, touches of violence, ability to read people? Sympathetic to the audience?
6. The introduction to the villain, his appearance, short, the week, the laugh, the voice, on the phone, summoning the young man? The plan against Luther, indicating the charges, Luther arrested, sent to jail, his experiences in the jail, the meals, the reaction of the prisoners?
7. Odette, being put in charge, her background, style of authority, the stance against Luther, his imprisonment? The detectives, the police, her calling on Martin Schenk? His working with Luther, knowing him, retired, sense of honour, understanding Luther?
8. Luther, arranging the prison break, the man hanging himself, the guards, the riot, the gates open, the smoke, Luther and his breaking free from the prisoners, from the prison, put in the van, the hold-up of the van, his liaison and helping him escape? Going to the garage, the vehicle?
9. Luther, his methods, determination, the visit in prison by the mother of the victim, and the murderer having driven her and ingratiate himself? Her anger at Luther breaking his promise to find the killer? Her visiting the house and discovering her son’s body and the other bodies? The other grieving relatives?
10. The radio broadcast, the frequency, Martin discovering it, Luther going to the address, confronting Derek, getting the information, forming a theory, the murderer’s hold over people, playing on a weakness, blackmail? Odette and the police coming to the same address, Luther’s escape?
11. The murderer, the audience understanding his madness, his visit to his mother, her being burnt, his reaction? The revelation of the online website, his liaison in Europe, filming the suicides, filming the murders, the people imprisoned in Europe?
12. Piccadilly Circus, the setup, the suicides, the crashes, Luther and his confronting the murderer, the murderer with his knife and a hostage, Odette arriving, the distractions, the murderer getting away?
13. The revelation of his contact when the police within the police force, Archie, information, the phone call, the promise to let him off, to go to his mother, inject her? Martin waiting for him, Archie killing himself?
14. Luther and his interview with the victim’s mother, getting a picture of the murderer, her dismay at being tricked?
15. Odette, the phone call to a daughter, the abduction, her being transported onto the continent?
16. Odette, desperation, the plan to get Luther, his waiting for her, confrontation, collaboration, the drive, the ferry, the snowclad landscapes, the car, walking the distance, the icy mansion, the subterranean tunnels, the studio?
17. Luther, getting in, his being subdued? Odette, the hanging bodies, thinking her daughter is there, turning on Luther? The reality of her being behind the glass panel?
18. The final set up, sadistic, the murderer, the henchmen, the technician?
19. The visualising of the clients watching, sadistic, all-male? The threats to them and their turning off?
20. The threats to smother the daughter, the murderer forcing Odette to stab Luther, the threat to Luther that he break Odette’s knee? Luther turning the tables, the attack on the technician, the fights, the murderer escaping, locking the door, the setup for kerosene and burning? Odette in the fights, freeing her daughter, trying to turn off the flow?
21. Luther, pursuing the murderer, out onto the ice, in the car, erratic, falling through the ice? The death of the murderer, the other bodies in the water? Luther, fixing the controls on the basement door? The role of the helicopters, the divers, his being rescued?
22. Odette, her daughter, thanking Luther?
23. Hospital, Martin, his recovery, and the congratulations of the authorities?

CHAMPIONS

US, 2023, 124 minutes, Colour.

Woody Harrelson, Madison Tevlin, Joshua Felder, Kevin Iannucci, Joshua Felder, Ashton Gunning, Matthew Von Der Ahe, Tom Sinclair, James Day Keith, Alec=x Hintz, Casey Metcalfe, Bradley Edens, Kaitlyn Olsen, Matt Cook, Cheech Marin, Ernie Hudson.

Directed by Bobby Farrelly.

Basketball does have a lot of fans. So, when they read about this film and note basketball, they will probably want to see it. It does start with the American NBA and some professional games – but, unexpectedly, the film goes in quite a different direction, a direction in which we all should go.

The film is based on a true story, first filmed in Spain as Campiones. Now the action is in the United States, in the city of Des Moines, focusing on an assistant coach who has plenty of ideas for play but becomes aggressively involved in clashes with the main coach, drinks, hits a police car, is outspoken with the judge but keep quiet when he learns that he is to do 90 days of community work.

This character is played by Woody Harrelson, who has been on our screens and top billed since the 1980s. While he looks and sounds the same in every film, he is able to embody his different characters so that they are completely credible. He is not a particularly likeable character here, casual in a relationship with a young woman in the city, watching basketball on television instead of paying attention to her!

But his shock is that he is to coach a group of young men who are intellectually disabled. This means an entirely different film from what we might have been imagining. One of the strengths of the screenplay is that, unlike a number of films which present a team and the members seem to be interchangeable without much character development, these men are quite distinctive, their names, their backgrounds, their disability, the kinds of jobs that they are able to do, their moments of awkwardness, their love for basketball, the learning to play as a team.

So, this film is very emotional in getting audience response to the young men, their personalities, their lives, relationships, some of them with Down Syndrome, others having had brain injuries in car accidents. The young man that receives most screened attention is Johnny, who turns out to be the brother of the woman that the coach first had his encounter with, the coach now having to reassess his relationships, try to understand how people tick. On the comic side, there is a tall man called Showtime who has been fascinated with the jigs that players who score a basket do – but he has spent years turning his back to the basket, throwing, always missing, but enjoying the jig. There are lots of moments like this throughout the film.

There is the competition element so familiar with films about teams, learning skills, the men having quite some talent in fact, winning matches, and the buildup to the Special Olympics championship. This is the occasion when the coach is able to give a very strong pep talk explaining to them all that they are champions in what they have achieved no matter what happens.

It is films like Champions that remind ordinary audiences about sensitivity to those who are disabled, the language they use, the stances that they take, and the possibilities of knowing people by name, their lives, their idiosyncrasies, their humanity.

1. The title? Based on actual characters and events? Remake of the Spanish film of the same name?
2. A film for basketball fans? The NBA, matches, the players, coaching, manoeuvres, tensions with coaches, with players? The contrast with coaching The Friends, the men with intellectual disability, working with them, their forming a team?
3. Iowa, the city of Des Moines, apartments, homes, the stadium for sport, the streets and buildings, the Centre for the young men? Travel, basketball matches? The musical score?
4. Mark, a Woody Harrelson character, his liaison with Alex, her harsh remarks, his watching the basketball on television, preoccupied? Assistant coach, the coach as his friend, passionate watching the match, disagreeing with the coach, pushing him, fired, captured on television and replayed?
5. His drinking, watching the television, driving, observing people, the police holding up the two young men, crashing into the police car, arrested, in jail, bailed out by the coach, fired, his lawyer, going to the judge, her severity, his impulsive speaking out, the possibility of community service, 90 days, accepting this?
6. Going to the Centre, meeting Julio, the discussions, meeting the young men, his coach having advised him to get to know people rather than just manoeuvres and techniques basketball?
7. The range of young men, played by actors with disabilities, the screenplay making individuals of them each, the audience following them as characters, their names, where they lived, the variety of their workplaces and work according to their abilities, coming to practice, the erratic behaviour, Mark and his work with them, learning more about them, encouraging them?
8. The range of characters, Johnny, Down Syndrome, Mark meeting Alex in the car, her driving the bus, the invitation to the meal, the issue of where Johnny would live, Johnny, literal in his interpretation, judgement about people, the technique of the statue, Alex explaining the Winter’s Tale and Hermione, using the technique? His skill in getting baskets? Changes of moods? Yet engaging? Love of animals?
9. Craig, his girlfriends, his ability with the ball? Benny, big, working in the kitchen, the harshness his boss, not letting him to come to work, his final defiance and rehearsing in the mirror, his being fired? His skills with the ball? Marlon, intellectual, knowledge, Wikipedia, assertions, his health, observations on the game? Arthur, big, contributing to the game? Blair, big, silent? Cody, coloured hair, working in dyes? Showtime, the many years, lanky, his intention to get the basket by throwing backwards, his celebratory dance? Darius, refusing to play, the coach and his past relationship with him, urging Mark to make a move, Darius and his brain injury, the drunk driver, unable to forgive, Mark apologising, Darius making a move to forgiveness, and his play, work with the team?
10. The effect on Mark, getting to know each of the men, adapting to them, moments of exasperation, the training, working as a team, the techniques, their skills, the matches, the competition, the hopes?
11. Mike and Sonny, Mark using him to get to the NBA, Sonny and his pretending about the offer, his uncle not liking Mark? The clash, each using the other? Mark offering Sonny the job of assistant coach, his working with the team, bonding with them? Mark intending to go to the NBA, Seattle, the deal, the television interview before the match, difficulties in Seattle, Mark changing his mind?
12. Alex, her life, at home, devoted to Johnny, the Shakespeare plays and the scene with the students, her keeping accounts, the meals, driving the van, the relationship with Mark, no attachments, the development of the relationship, Mark coming for the meal, the clash, the eventual apologies and reuniting? Johnny and his reaction to each stage of the relationship?
13. Benny and his boss, harsh, the issue of money for the travel to Winnipeg, Alex and Mark impersonating police, threatening the owner, his agreement to supply the money for the trip?
14. The issue of how to refer to mental disability, the rejection of the word retard? But people encountering the unusual and unexpected behaviour, the sequence of the bus, the music, loud, the mother and child, the angry driver, Marlon vomiting? Their being stranded?
15. The final match, the pep talk about being champions, not having them win the Special Olympics, Showtime and his attempt to throw backwards – and missing the trophy? Yet the rejoicing, still champions, the silver medal rather than Mark’s comment that they lost?

16. A film supportive of understanding people with physical and mental disabilities, finding ways of their being themselves within their capacities?

SCREAM VI

US, 2023, 123 minutes, Colour.

Melissa Barrera, Jenna Ortega, Courtney Cox, Jasmin Savoy Brown, Mason Gooding, Dermot Mulroney, Jack Champion, Josh Segarra, Liana Liberato, Devyn Nekoda, Hayden Panettierre, Tony Revelori, Samara Weaving, Henry Czerny.

Directed by Matt Bettinelli-Olpin, Tyler Gillett.

The fact that we now have Scream VI testifies to the longevity and effectiveness of the franchise. Fans are still devoted, new fans attracted. The original Scream was released in 1996.

Response to the first five films has been varied, from acclamation to disappointment. Disappointment will not be the response to this particular addition. The scenario is well written. The conventions of the franchise all incorporated, some variations on the theme. The action takes place only a year after what we saw in the previous Scream, incorporating some of the central characters (who survived) and memories of those who did not.

The film sets a tone, tantalisingly, in its opening, focusing on an associate professor of film studies, specialising in horror, waiting in a bar for a friend, who phones, lures her out of the bar into a dark alley (and those in the know are remembering that a previous film did something similar targeting Drew Barrymore). But, this time the slashing Ghost Face is unmasked, and is followed home, checking with his roommate, both students of horror films, only to find that… (The hapless professor is played by Samara Weaving, with her Australian accent.)

And then we move on to the core of the franchise, the two sisters who survived last time, Sam (Melissa Barrera) and Tara (Jenna Ortega) with their friends Chad and Mindi, still fearful, Sam trying to protect her younger sister who wants to be independent. And there are their roommates, Quinn and Ethan.

As might be expected, and what fans hope for, there are various attacks by Ghost Face, that ominous mask with its open mouth, literal jaw drop, the cowl and cloak adding to the sinister presence. But, this time they are helped by the father of Quinn, a detective, played by Dermot Mulroney.

There are plenty of scary slashing is (which some audiences might find too much), but the screenplay keeps going, sometimes with some humour, but some tense moments when the sisters have to climb across a horizontal ladder between two tall buildings, when the group travel in the New York subway at Halloween when almost everybody is disguised with masks, several of them sinister Ghost Face.

And, for the old-timers, there is Courtney Cox again as Gale Weathers, the sisters resenting her book, but her helping in the investigations, especially finding an extraordinary abandoned cinema which is full of memorabilia from the franchise. And, there is Kirby, Hayden Panerttiere, from the last film, FBI agent.

One of the factors is the screenplay referencing itself and the franchise as well as horror film conventions, Mindi, something of an expert, elaborating how the sequel should go and what to expect. She does make a point about what Ghost Face should be like this time and, if you have listened carefully, you will not be surprised to find who Ghost Face Is, though you will be to surprised at all the connections with the previous film as well as climaxes in that franchise memorial cinema.

But, having solved everything and tied up loose ends, where could Scream VII go?

1. The popularity of the franchise, over many decades? Reasons for popularity? The mask, the killers, slasher movies, the victims?
2. This film following immediately on the events of the previous fifth episode, the killings, the characters, motivations?
3. The New York setting, the city, College, bars and diners, apartments, the theatre museum for the franchise? The streets, the importance of the sequences on the subway? The musical score?
4. The “In” dialogue, discussions about the franchise, the initial discussion with the associate professor, her courses on horror films, the conventions of horror films, favourites? Mindi and her speeches about the conventions of the horror film, sequels, how characters change, those who have legacy of characters and their appearance and disappearance, and Ghost Face being the opposite – giving enough indications for astute viewers to know who really was the killer?
5. The slasher aspects, killings, too gruesome for some audiences? Conventions of the slasher thriller? (And the effect for those watching the 3-D version?)
6. The prologue, echoing the previous film with Drew Barrymore, a seeming central character, Samara Weaving and her reputation, associate professor, in the bar, the phone call, the charming caller, getting her out of the diner, into the narrow lane, the change of voice, the attack and her death? The revelation of Jason, his motivation, in the class, his assignment, sharing the room with Greg, returning home, Greg’s absence, the phone call, tantalising Jason, the repetition of the method, hot and cold in the search, the fridge, Greg in the fridge, the killing of Jason?
7. The return to Sam and Tara, audience awareness of their family, the Loomis family, their father as killer? The previous film, college, the friends, Mindi and Chad? The murders, the revelation of the murderer is, working together? The aftermath, Tara and the reuniting with Sam, Sam as protective, over-protective, Tara, the party, ready to go off upstairs, Sam coming to rescue her, Chad and his defence? Tara and her reactions?
8. Quinn, sexual relationships, sharing the apartment, putting her foot in it, her father in the police?
9. The expected conventions of the screen franchise, and continual reference to the franchise and to the Stab movies? Gale Weathers coming back in, her writing the book, antagonism by the sisters, Tara punching her, the clash with Kirby, her discovering the theatre, their all visiting the theatre, all the mementos and memorabilia of the franchise? The weirdness of the converted theatre?
10. Detective Bailey, Quinn has his daughter, his coming in on the investigations, dismissed from the investigation, yet his continuing, his deadly motivation for revenge? The interactions with Sam and Tara?
11. Sam and Tara, the deaths, bringing them closer together, Sam and Danny, his apartment across the way, their meeting, the importance of the ladder across between buildings and their attempts at escape? His warning Sam not to trust anyone? Not allowed into the theatre? Yet his arriving with the police?
12. The attack on the house, Quinn and her death, her father’s reaction in grief? Ethan, sharing the room, initial accusations, his seeming innocent, and his alibi with his study meeting?
13. The phone call, the threats, Gale, the sequence of the attack on her, her boyfriend, the apartment, Ghost Face getting in, her fighting back, the various escapes, the knives, her being wounded, his escape, Sam and Tara rescuing her, going to hospital? Defining Ghost Face?
14. The absence of Sydney, her presence in the previous films, her being referred to verbally?
15. The decision of the group to go into hiding, on the subway, fears and threats, Mindi, her having been wounded in the initial attack, on the subway with Ethan, cut off from the others? Mindi and her relationship with Anika, Anika trying to escape across the ladder, her death? Falling from the ladder? The attack on Mindi in the subway? The hospital?
16. Going to the theatre, eerie, the presence of Ghost Face, the several people wearing the mask? The attacks, slashing, Chad wounded? The two sisters, fighting back, Tara hanging, Sam letting her go be giving the knife? Sam and her being haunted by her father’s appearance and comments?
17. The unmasking, Ethan and his malice, Quinn and her attacks, the motivation of Bailey? The true story of the theatre, Henry, the previous killer, his obsession with the franchise, the collectibles, the theatre, his own film showing? Henry as Bailey’s son, and the brother of Quinn and Ethan? Motivation?
18. Kirby, her presence, wounded in the past, her obsession, not with the FBI, rivalry with Gale? The sisters suspicious of her? Her coming to save the day?
19. This is to say, truly bonded, the memories of the past, facing the future, Danny and Sam, Tara and Chad, Gale recovering – and where can the franchise go now?

ALL THE BEAUTY AND BLOODSHED

US, 2022, 122 minutes, Colour.

Nan Goldin.

Directed by Laura Poitras.

There is a great deal – more than a great deal – going on in this Oscar-nominated documentary. In fact, it is two films in one, each story commenting on the other.

The focus of the film is photographer Nan Goldin, born 1953. The film traces her career and life with all its ups and downs but also focuses on her establishing P.A.I.N (Prescription Addiction Intervention Now) and her mission in denouncing the industrialists, the Sackler family, and their promotion of opioids leading to a plague of deaths, overdoses, suicides.

Director is Laura Poitras who made documentaries about Julian Assange and Edward Snowden.

The film introduces Nan Goldin as a campaigner from the mid-2010s. So, the tone is set – and, sometimes unexpectedly, the audience is drawn back into her campaign, the range of protests, banners, protesters lying down as if dead, clashes with the police.

But, at the core of the film is the exploration of Nan Goldin herself and her life. She participated fully in the film, interviewed, commentary, action, discussing memories, discussing friends and associates, her career and its success, her own personal difficulties and failures. And, the film incorporates into the narrative at various times selections from her

The title of the film is a reference to Nan Goldin's older sister Barbara Holly Goldin. 'All the beauty and the bloodshed' is a direct quote taken from a psychiatrist's mental health evaluation of Barbara during her time at an institution. Nan Goldin spends a great deal of the film reflecting on her sister, looking at photographs, speculating about her unhappy life, treatment by her incapable parents, her leaving home, fostering, mental collapse, her suicide at the age of 18 and Nan Goldin’s continued admiration for her sister and her grief at her death.

Nan Goldin herself had a hard life, clashes with her parents, leaving home, fostering, discovering her talent for photography. And she belonged to New York after leaving her native Boston. She had her ups and downs in the 1960s, 1970s, 1980s, sometime as a sex worker, her being helped by the proprietor of a diner, Tin Pan Alley, which became a centre for whole range of characters in New York. And this happened at the same time as life at The Factory and Andy Warhol (who is seen in one picture and glimpsed in another but never spoken about – and just mention of Robert Maplethorpe and his photos). However, there was quite a range of characters in Nan Golden Circle, men and women, gay, many film clips of them, and sequences from independent films of New York at the time.

Nan Goldin created a number of slideshow programs, selections of which appear throughout the film, as well as her book and film, The Ballad of Sexual Dependence.

Which means that this portrait of Nan Goldin, photos, the film clips from the avant-garde films from the 1970s and 1980s, and Nan Goldin’s continuous commentary built up a rounded portrait – and, surprisingly at the end, her meeting with her mother and father, talking with them, their seeming to have come to terms with life half a century after the death of their daughter.

And, interspersed with the biographical material are the sequences of protest. Some explanation is given about the Sackler family, some photos, history, the production of medication but, especially in 1996, oxytocin, its over prescription, the dire consequences, even ordinary people having an injury and being recommended the opioid and its seemingly almost instant power of addiction. There are quite a number of talking head testimonies, especially of distraught parents.

One of the important things in the film is that the Sacklers have been extraordinary philanthropists especially in the art world, some of the members having extraordinary collections. So, demonstrations in New York, in London and other parts of the world over the years, including the Louvre, to withdraw the Sackler name, physically, from the museums, a protest on the harmful effect their industry has had as well as the enormous amounts of money that they made.

Later in the film, there is footage of discussions and challenges to members of the family, their being seen listening and responding to the attacks, to the criticisms. And, finally, one of their companies, Purdue, declares bankruptcy but protects the investors. And the family have to give $6 billion to the government. And the comment that this is not nearly enough.

So, the film stands by itself is a portrait of Nan Goldin. But it is also a powerful social protest in the context of the opioid epidemic throughout the US and beyond at the beginning of the 21^st-century.

(A fictionalised story of the opioid crisis was dramatised in the 2021 film, Crisis, with Gary Oldman and Armie Hammer.)

Welcome to the Chevalier Year, begins 15th March, the anniversary of Jules Chevalier's birth

which will officially open on 15 March 2023, the 199th anniversary of Fr. Jules Chevalier's birth and will end on the feast of Our Lady of the Sacred Heart in May 2024. The grand celebration will be on 15 March 2024, the 200th birthday of Fr. Chevalier.

The material and artwork have been sent from the General House - the artwork may not appeal to all tastes.

THE THEME AND LOGO FOR THE CHEVALIER YEAR

We invite you to sit and pray with this logo & theme. What does it say to you?

We thank the MSC provinces in Brazil who first proposed the theme and Sr. Helena (Nam, Yuri), MSC Sister from Korea who designed the logo. We also thank Joao Pedro from Brazil who also submitted logo designs.

We encourage provinces, unions, regions and communities to have a special celebration in your places to mark the official opening of the Chevalier Year!

As we celebrate this special jubilee for our Chevalier family, may each one of us be touched by the Spirit, and, like Fr. Chevalier, will be gifted with a heart on fire for mission.

These Annals are brought to you by the Chevalier Year Commission.

Special thanks to Fr Michael Angelo Dacalos, MSC, for the layout and design.

The Holy Spirit + Passion

The Holy Spirit shaped by a dove and a flame.

Our passion for the Spirituality of the Heart.

Bicentennial + The Pierced Sacred Heart

The number 200 expressed by continuous line and the pierced Sacred Heart symbolize our motto and vision originating from the time of Chevalier to our time.

MSC Charism at the center of that time.

The red line and surface spreading at the bottom mean our mission.

Jules Chevalier, MSC

His white hair and the red stars on it symbolize wisdom

MSC and OLSH in South Sudan, a report, Papal visit, by Alan Neville MSC, Irish Province

Juba International Airport is chaotic at the best of times. It is only for the hardiest of travellers, with a sense of reckless abandon, and the sturdiest suitcases. On Friday, the 3rd of February, though, it reached new heights. As I flew back into Juba, the Pope was beginning his ecumenical pilgrimage to South Sudan, along with the Archbishop of Canterbury and the Moderator of the Scottish Presbyterian Church just two hours later. The crowds were heaving with singing and dancing, officials were everywhere waving arms and shouting, and (ironically for a peace pilgrimage) there were plenty of military to make sure everything went without a hitch.

The Vatican, and Pope in particular, have been involved in promoting peace in South Sudan for the last decade. When he met the President and Vice Presidents in Rome in 2019, the Pope stunned those present by getting down on his knees, kissing their feet, and begging that they would work for peace in the world’s newest country. This powerful act of humility demonstrated more beautifully than words ever could how committed he was to building a different future for a people in need of hope.

After dropping off my bags, I joined the group from our Loreto school lining the road to welcome the Pope. If I was tired after my flight, it was nothing in comparison to what they must have been feeling. Over the previous nine days, they had walked as part of a pilgrimage of peace from our school in Rumbek to Juba. A group of ninety students, interns, Religious, and youth walked from village to village on the way to the capital, witnessing to peace. Each evening they performed a play in the marketplace on the theme reconciliation and nonviolence.

“Brothers and sisters, it is time for peace!”

With all the police cars racing up and down the official route, we almost missed the Pope as he drove from the airport in his usual understated Fiat. He was to spend the first day meeting with the President, politicians, and the diplomatic corps. His message was encouraging, but given that twenty-seven people were killed the day before in a vicious revenge attack just three hours outside of Juba, uncompromising:

“Years of war and conflict seem never to end and recently, even yesterday, there have been bitter clashes. At the same time, the process of reconciliation seems stagnant and the promise of peace unfulfilled. May this protracted suffering not be in vain; may the patience and the sacrifices of the South Sudanese, this young, humble and courageous people, challenge everyone and, like the seeds sown in the soil that give life to plants, allow peace to blossom and bear fruit. Brothers and sisters, it is time for peace!”

The following morning the Pope met with priests and religious working around the country in the Cathedral. He remembered those sisters and priests who had been murdered in recent years, but also offered words of encouragement. Immediately afterwards, our youth who had walked from Rumbek had an opportunity to meet the Pope and have their photo taken with him on the steps of the Cathedral. He had heard their story and wanted to meet them personally. To say that they were on cloud nine afterwards would be an understatement. It would be something that they would never forget.

Later that day, the Pope met with internally displaced South Sudanese living around Juba, only a small group of over 2,000,000 people who have had to leave their homes due to flooding or fighting. Many have been living in camps for so long returning will be next to impossible. Mapourdit, where the Daughters of Our Lady of the Sacred Heart minister, was a refugee camp before Independence, but has not become a permanent settlement. Pope Francis agreed with many of the local leaders that this cannot be the way.

“Only with peace, stability and justice can there be development and social reintegration. There is no room for further delay: great numbers of children born in recent years have known only the reality of camps for displaced persons. They have no memory of what it means to have a home; they are losing their connection with their native land, their roots and their traditions. The future cannot lie in refugee camps.”

On Saturday evening the Pope joined Archbishop Welby, the Rev Iain Greenshields, and church leaders from around South Sudan to pray for peace. In particular, they identified the problem of violence against women as a pervasive reality and spoke of the role women have played and will play as peacemakers, justice seekers, and future leaders. The response of the people there was joyous, even if many had to wait hours in 40C heat just to witness it.

Finally, on Sunday, we celebrated Mass with the Pope in the John Garang Memorial Park. It was a capacity congregation, and if you weren’t there by 4:00am, you weren’t getting a seat. When the Pope drove around the site at the beginning giving his blessing, he was greeted by cheers and ululations. In his homily, he spoke of St Josephine Bakhita, one of the patron saints of the country, and her fight from slavery to freedom, overcoming some of the worst challenges imaginable. Instead of becoming embittered by her struggle, she used it to inspire her and those around her to witness to her faith.

“Hope is the word I would leave with each of you, as a gift to share, a seed to bear fruit. As Saint Josephine reminds us, women, especially here, are a sign of hope, and in a special way I thank and bless all the women of the country.”

As the Pope started his journey back to Rome, we hopped onto the bus and joined our rag-tag collection of cars on the drive back to Rumbek. Only last year, this journey would not have been possible due to insecurity, but things are more settled now – hopefully a sign of things to come. Fourteen hours, one flat bus tire, and one broken down car later, we arrived back in Loreto Rumbek. An amazing journey for all of us, but for South Sudan one that is continuing.

Nhialic ke yin,
Fr Alan

March 13^th 2013. March 13^th  2023. Pope Francis and the Church.

Here is a list of questions that might have been asked on March 13^th 2013 when Pope Francis was elected.  What might we have answered – if we could?

Asking the same questions on March 13^th – today – what do we answer?

What does this tell us about the Church and ourselves?

Will there ever be a Pope from Argentina?

Would a pope ever call himself Francis?

Would a pope ever move out of the papal apartments?

Would there ever be a Jesuit pope?

What does Laudato Si say to us?

What is the Synodal way of the Church?

Is reform of the Roman Curia and Church finances going to happen?

Will the college of Cardinals be extended to small countries beyond Europe?

Should pastors have ‘the smell of the sheep’?

Will we be using the question, “Who am I to judge?”

What has happened to us, to the Church, to the impact of the pope in our world?

The MSC Victoria/Tasmania Community Gathering to start 2023.

The Victoria/ Tasmania community has 21 members as we begin 2023.

Perhaps you will be able to pick out some of the community – and for those wondering where we met: the crying room of the church, large enough to fit us in.

Ted McCormack at Monivae and Frank Andersen were unable to be present.

We had our first monthly gathering for the year on Friday, 24 February, with 19 of the 21 members of the community able to be present. The community has regular meetings during the year, but this was particularly special, marking new beginnings for 2023: the community welcomed three new members, Bartha, Petrus and John - which provided the opportunity for a sharing of stories - and the beginning of the year for those at Language School, Heart of Life, Clinical Pastoral Education and YTU.

Birthday cake for Michael and Hoa reminding us of the Melbourne community members both old and young, Michael 87 and Hoa 30.

There was also a celebration for profession anniversaries (especially the 65 years as MSC of Michael Sims & Peter Malone) and birthdays (Philip, John, Vincent, Michael).

Our students were present for the Opening Mass for the YTU.

Nang leading the procession.

The Victoria-Tasmania community

The weekend’s post will have something, especially photos, of the recent Community gathering to start the year as well as the Opening Mass for the Yarra Theological Union.

Frank Andersen was not able to be at the gathering.  Peter Hendriks sent this message about Frank bringing the Province up-to-date with his health.

He writes: I visited Frank when I arrived in Melbourne on Saturday. He has been in hospital for two weeks, quite unwell with depression. He usually goes to the hospital once a month for four nights for TMS treatment; however, this last visit needed to be extended.

• He is keeping himself busy and active:
  • Each Monday, he attends a study group exploring Indigenous history.
  • He owns a yacht and belongs to a yacht club. Before you disbelieve me, they are remote-controlled model yachts.
  • he is the coordinator of a group called 'Old Men and Conversations’
• Finally, I have heard from several MSC who say Frank will ring them occasionally out of the blue and say thanks for all they are doing for the province.(Photo of Frank ringing Terry Naughton.)
  
• Thank you, Frank.

JEEPERS CREEPERS: REBORN

US, 2022, 88 minutes, Colour.

Sydney Craven, Imran Adams, Jarreau Benjamin.

Directed by Timo Vuorensola.

Whether you want to watch this 2020s version of the horror franchise, Jeepers Creepers, with its eerie monster, The Creeper, will depend on whether you enjoyed the earlier three films (which are explicitly referred to by the central characters in this one, motivating them in their search for The Creeper who, apparently, appears every 23 years, a bit more frequently than Pennywise’s 27 years in Stephen King’s It).

The original two films had something of a following, then a third 15 years later and another film not explicitly connected with the franchise but using the name. So, we have our pick.

The opening takes us into familiar territory, an older couple driving through the American countryside, enjoying their drive, menaced by a truck, pushed off the road, their seeing eerie behaviour by the driver (familiar from the other films), and decide that it is the right thing to do to investigate and report to the authorities. But, it seems that this is being watched on a phone screen by the contemporary couple, he for love of conspiracy theories, wanting to propose to her, she very sceptical, discovering she is pregnant.

In the meantime, we see the resurrection of The Creeper, emerging from the ground, covered with earth, freeing himself (itself?) And beginning to go on the rampage, targeting the young woman, apparently wanting to capture her unborn child. In the meantime, disposing brutally of some of the characters.

Eventually our couple arrive at a horror of fun fair with all kinds of sideshows. But, they are drawn into a more particular sideshow, a house of horrors, with some overtones of satanic rituals, the young woman on an altar to be sacrificed, the hovering Creeper.

Into the house goes the hero, a seeming hillbilly who was hired to run one of the sideshows, as well as a media group, front person, producer and cameraman. Needless to say, but saying it, gradually they will be disposed of. A pity, because the hillbilly was rather sympathetic. The other is not so!

So, all building up, to an expected confrontation, dangers, brutality, and the hero getting the best of The Creeper.

Again, needless to say, but saying it, there is a moment at the end which indicates in sequel mentality, you can’t keep a commercially successful Creeper down.