THE POOL

Australia, 2024, 95 minutes, Colour.

Directed by Ian Darling.

This is a cinema essay/poem rather than a narrative about the Icebergs Pool at Bondi Beach, Sydney. In fact, at the end, there is information that this is the most filmed and photographed pool in the world.

For audiences who enjoy beautiful and skilful photography, this is their kind of film. For audiences who need some kind of ongoing narrative to keep their attention and provide some continuity, they will have to rely on some of the stories that swimmers at the pool tell, moments of narrative.

In fact, the film does not give much background to the origins of the pool, except that it opened in 1929 and has been popular ever since. There are statistics given of how many people swim at the pool each year.

On the one hand, the film is a masterclass in cinematography, in editing. There are beautiful scenes of the weather, the sky at dawn, the expanses of the beach and the ocean, the crashing of waves over the pool, vistas of Bondi beach and its background. On the other hand, there is a focus on so many of the men and women, mainly older, and their devotion to the pool, the long years of coming, some even five days a week early in the morning, the regimes, the benefits, the friendships, and the beer drinking at the end of the day.

In fact, the comments of so many of the older men and women are an exhortation to good health and exercise and audiences seeing the benefit.

The population that goes to the pool in the 2020s is significantly white, glimpses of some other participants from Asia and other cultures. In fact, it is often a blokey culture at the pool, especially the men friends over the years, but an equalising of executives with workers the same in their swimming gear. But, there are many women, an increasing number.

Life at the pool is very much controlled by the staff, the importance of racing, the importance of training, the visualising of the various races, the laps, the timing, the qualifications.

Which means then that this is a social document, as mentioned also a cinema poem, reminder of the beach culture of Australia, of Sydney and especially the status of Bondi Beach.

Best to quote some of the statement by the director, Ian Darling.

We set out to make a beautifully cinematic film, where every shot is a stunning portrait and a pleasure to watch. The filmmaking process opened our eyes to the raw beauty of the place, and how the smallest detail; a random wave, a spectacular sunrise, a massive storm, a perfect dive, an individual swimming stroke, the challenge of cold water, the fear of swimming, the healing powers of the water could help us create a story measured and told by the sum of the parts. Making this film also opened our eyes to the incredible cast of characters who populate this place. We didn’t want to make a traditional film where we followed a limited number of people in detail, rather we wanted to gain snippets from many characters who call the pool their home. But more than anything we wanted to make a film where there was just one central character. The pool itself. It just happened to have lots of arms and legs, and an endless well of stories to tell.

This is a time for gentle, poetic, meditative films to also find a place in the canon. We will always need documentaries that highlight injustice, human rights abuses, environmental destruction, and a myriad of other problems. But sometimes we need films that make us feel good about being human again too, and, perhaps, never more than now.

Gathering of MSC Initial Formation Team, Cuskelly House, Blackburn.

Initial formators from Australia and Vietnam are meeting in Melbourne this week. They will discuss the MSC Initial Formation Document “Emmaus – Formation of the Heart”. This is an update of the previous document, “Valladolid (1992)”. The Australian Province’s initial formation process will be reviewed in light of Emmaus.  Please keep them in your prayers this week as they gather at Cuskelly House in Blackburn from 25-29 November.

Those gathered are Danh Nguyen Thanh Doan MSC Pre-Novitiate formator (Vietnam), Dominic Gleeson MSC – Pre-Novitiate Director (Australia), Thi Dinh Nguyen MSC - Assistant MSC Director of Novices of MSC Novitiate in the Philippines, Khoi Nguyen MSC – Novitiate Director (AUST), Quang Vu Bui MSC -   Post Novitiate Director (Vietnam), Mark Hanns MSC - Post Novitiate Director (Aust) and Krish Mathavan MSC (Aus).

Province Update on Formators’ Meeting 25-29 Nov 2024

Day 1 – 25 November 2024

We began our first day of meeting with an extended time of prayer, personal sharing of where we are this day, and listening to each other. In the second morning session, we entered into the Emmaus Document with some reflective reading time, reflective sharing from what we read, and communal discernment of where God spoke to us. In the afternoon, Dominic Gleeson and Danh Doan, the pre-novitiate directors in Australia and Vietnam, shared from their reflections on the current situations of the pre-novitiate in the relevant contexts and in the light of the Emmaus Document. We recognised some commonalities but also some differences in these places.

Reported by Khoi Nguyen msc

RIP, Terry Bowman MSC

Peter Hendriks writes: Sadly, news that Terry Bowman MSC died this afternoon. We received news that he was found on the path between the front door of the monastery and Roma Avenue.

Terry would have turned 71 on December 2nd. he made his first profession on January 14th 1984. He was ordained in his home town of Koroit on August 13th 1988.

We remember Terry as a lively and jovial Missionary of the Sacred Heart, full of life in his parish ministry, Moonah, Adelaide, Blackburn, Coogee, Kensington and more. And an enthusiastic singer.

Terry has been unwell this year, with surgery and recuperation.

May he rest in peace.

Acknowledging Phil Reilly MSC, 75, November 25th

At the time of Phil’s Golden Jubilee of Profession, he wrote a speech about his life as an MSC.  It is well worth reading: https://www.misacor.org.au/item/29202-phil-reilly-an-msc-brother-s-life-formation-and-50-years

Here are some excerpts.

On the 13^th January 1973 I made temporary Profession for three years as a Brother in the Missionaries of the Sacred Heart. Once again we moved after First Profession, and so in February 1973, we returned to Canberra, where we studied, and worked.

Towards the end of 1973, I was asked by the Provincial whether I would be willing to go to St Mary’s Towers Douglas Park. My new job was to be the cook for the community there. Being newly Professed, wet behind the ears, of course I agreed to the request, even though I had only helped in the kitchens during my training, but never run a kitchen, or cooked by myself.

Well, I have to say that I did survive quite well at Douglas Park and found that I could cook!!

I lived at Downlands College, from !981 – 1991. I was first appointed to work in the College Office, to help in the finance section. I also helped out with some Boarding duties. In 1982, I was appointed the Housemaster of Hyland House. I enjoyed my time at Downlands. I made many friends, both those who worked with me in the office, the teaching staff, and of course parents.

In 1992, I was given Sabbatical Leave, and spent six months in the USA at the Wellsprings course. This was a course for deepening one’s spiritual life, and a time for personal growth. This was a blessed time for me, and I do know that I gained so much personally. There were people from many countries. It was a wonderful group, and I made many friends, who were so kind to me. I am forever grateful to the Australian province, for allowing me this Sabbatical time.

My appointment at Chevalier was from 1992 -2003. I was appointed the Housemaster of Shields House.

Phil and sisters, Sheena and Anita

In 1997 after consultation with the Religious Community at Chevalier, I was appointed the Religious Superior of the MSC Community. I was Superior for 7 years, and finished when I left Chevalier in 2003. I must have done a reasonable job I suppose as I was reappointed twice!!

At the end of 2003, I was asked if I would leave Chevalier, and transfer to Treand House, the Provincial House, at Coogee. I accepted the appointment and was the assistant to the Province Business Manager. Working at Treand House was a completely different ministry. It was here that I worked more closely with members of the Province, especially those who were working in overseas missions. At Treand I was responsible amongst other things, for the paying of accounts, Health Insurance of our members, and helping those who were overseas and returning to Australia with their Travel, Travel Insurance, Pensions, Health Insurance, Doctors Appointments, and many other things. This was my longest appointment, and I was at Coogee from 2004 until June 2020.

I finished my time at Coogee at the end of June 2020, and moved to Erskineville Parish to live in semi retirement, where I manage to keep myself occupied.

2024 Heart of Life Centre Graduation

Heart of Life students graduated from various courses.

Daniel Magadia

and Krish Mathavan (in absentia) graduated from the Damascus Spiritual Leaders Program.

Khoi graduated from the Emmaus Spiritual Leaders Programme. Receiving his Certificate.

He is also a lecturer in the Siloam Programme. Presenting a Certificate to Yon SVD from Indonesia.

Three graduates spoke movingly of their experiences of the year and expressed how formative and transformative the courses were for them. 

A quote from Daniel’s reflection on the Damascus program.

Two words sum up the growth I have gained from Damascus: awareness and vulnerability. I learned awareness more interactively at supervision. I could share a pastoral experience and was given a space to learn and reflect on the encounter. This involves checking out how one is affected, whether emotionally or spiritually. Awareness is being able to acknowledge these movements. All the units were also helpful in teaching me this. As for vulnerability, a valuable insight is that the strength of a spiritual leader does not come from power, intelligence or whether they are a finished product. It is embracing one’s humanity, and realising they are not God.

They need God’s love as their inspiration and driving force (quoting the MSC Constitutions). I also learned that a spiritual leader is called to be an authentic leader, who’s true to themselves. There’s a vulnerability in this because it involves letting go of the masks and falsehoods. Indeed, just like Paul on the road to Damascus, my journey along this path has been life-changing.

RED ONE

US, 2024, 125 minutes, Colour.

Dwayne Johnson, Chris Evans, Lucy Liu, J.K.Simmons, Bonnie Hunt, Kristofer Hivju, Kiernan Shipka.

Directed by Jake Kasdan.

Most films about Santa Claus require quite a suspension of disbelief - except for the littlies. But, this one even more disbelief than usual for those who say they don’t believe in Santa Claus. Most of us!

Santa, the Red One, though initially seen enjoying himself meeting all the children at a Philadelphia shopping mall, is suddenly whisked away in a super-powered sleigh, the sturdiest reindeers you have seen, to an extraordinary mythological North Pole, then the victim of a vast conspiracy, his abduction, an evil which determined to take his place on Christmas Eve rounds and imprisoning forever those on the “Naughty List”!

Not exactly the scenario we might have been expecting for Dwayne Johnson and Chris Evans.

This is a piece of Christmas entertainment for older children (of whatever age!). The mythological story of the abduction, draining Santa Claus of his energies, the manufacturing of imprisoning it globes to be distributed on Christmas Eve to trap those naughty, is played out as the equivalent of a high-powered action show. Plenty of action – but always with its heart in the right place but not necessarily all those fighting fists.

Dwayne Johnson is obviously enjoying himself as Cal,  Santa’s long time bodyguard, for several centuries, in fact. And, J.K.Simmons as Santa is enjoying himself even more. He even has bodybuilding sessions at the gym with Dwayne Johnson. As for Chris Evans, we don’t like him at the start, arrogant, mean minded (even snatching a lollipop from a baby in a pram). He has all kinds of tech skills, he is hired out to break into high-class systems, enabling the witch to abduct Santa. And he has a young son who rather idolises him but is disappointed in him.

In fact, there are quite a lot of pauses in the film for Dwayne Johnson to give moralising lessons for the young audience, basically to be good.

So, lots of fantasy, lots of action sequences, particularly enjoyable are those where Cal’s powers enable him to go into miniature form at a moments notice and then reverse, very handy for battling and tricking hefty opponents.

Lucy Liu appears as the director for mythological operations. There is also the Krampus and his ogre-like warriors, Mrs Claus (Bonnie Hunt) a range of elves and a huge benign polar bear key staff-member at the North Pole.

Director, Jake Kasdan, has made the Jumanji films so he is at home with fantasy blends of realism and imagination. Audiences seem to be enjoying the red One – and best to avoid reading reviews by critics who think that this kind of thing is beneath them!

1. Red One, code for Santa Claus?
2. The tone of the film? Christmas film? Santa Claus film? Variations on the theme? Not for the youngest audiences, four boys, for children (of all age)?
3. Audience suspension of disbelief, belief in Santa Claus, Christmas Eve, the North Pole preparing all the gifts, travelling around the world, the deliveries, happy children? Variations on this theme?
4. The opening, the children, the gifts, Jack as very sceptical – and audiences discovering at the end that the young sceptical Jack was the older Jack of the action?
5. Santa Claus, at the mall, enjoying talking with the children, his personality, Cal present as his bodyguard, the intrusive man, the children waiting? Santa, ready to go to the North Pole, the reindeer and their size, the super sleigh, moving through space and time? The dome at the North Pole?
6. Expectations of life at the North Pole, the elves, the polar bear, Santa Claus’s wife, the preparation of the gifts, almost Christmas Eve? Santa, going to the gym, exercise, push-ups, weights… Cal retiring?
7. The witch, her pleasant appearance, her ugly appearance, her henchmen, her plan, abducting Santa, the deception of the break and the dome, keeping him at the North Pole, draining his energy? Her work, creating the globes, their finally worked in, miniaturising and capturing people? The intention to rid the world of naughty children, imprisoning them? Creating a better world?
8. The introduction to Jack, his age, careless, his skills, supervision, taking the lollipop from the baby, visiting his son, the complaint of his wife, phone calls, to take him to meetings? His age, devotion to his father, the disappointments?
9. Cal, the experience of the abduction, Zoe, her being in charge, the various meetings, the plans, the ruining of Christmas?
10. Cal, his personality, the guard for centuries, putting in his letter of resignation, becoming involved, tracking down Jack, the interchanges, hearing about Jack’s son? Knowledge of the witch, Jack identifying the contacts for the plan, going to the resort, the interrogation of the contact, his fears, the arrival of the monsters, icy, transforming others into ice? The humour of the fight sequences, Cal and his being miniaturised? The toy cars and other aspects of the shop, from miniature to full-size, driving away?
11. The visit to Germany, the Krampus, Santa Claus’ brother, the revolt, the ogres, the fight sequences in the slaps? Jack and Cal escaping?
12. Going to the North Pole, the buildup to the confrontation, the witch and her success, the mass production of the globes, trapping both Jack and Dylan? The talk, Jack being good and kind, the breaking of the glass?
13. The witch, preparing all the globes, the sleigh, getting ready to go?
14. The arrival of the Krampus, the witch his ex-wife, his decision to be on the side of good?
15. The fights, the sabotage of the sleigh, the breaking of the globes? Confrontation with the large witch, miniature fight? Her being imprisoned in a globe?
16. Finding Santa, resuscitating him, going on his rounds, the speed and the possibility of delivering all the gifts everywhere in the world on the one night!
17. Jack, the bonding with his son, and the revelation of the sceptical young Jack? Cal and his decision to stay on guard in Santa Claus?

ABIGAIL

US, 2024, 109 minutes, Colour.

Melissa Barrera, Dan Stevens, Alisha Weir, William Catlett, Kathryn Newton, Kevin Durand, Angus Cloud, Giancarlo Esposito, Matthew Goode.

Directed by Matt Bettinelli-Olpin, Tyler Gillette.

Abigail was a successful horror-thriller of 2024 directed by the duo who were responsible for Ready or Not, the remake of Scream and Scream VI. It has a strong cast of character actors – invited to act and overreact!

The film begins with the young Abigail, Irish actor Alisha Weir, a ballet dancer, Swan Lake. And she is observed by a number of people at the theatre and in waiting vehicles. What follows is a kidnapping. They are  not known to each other, not knowing anything about the girl or her family, are trapped in a house for 24 hours by the intermediary, Giancarlo Esposito.

There is a lot of complaint on the IMDb that the trailers gave away the major twist of the film. It is certainly better for the audience not to know anything about the film before they start to watch it.

So, very strong spoiler alert.

The switch in the screenplay is that it becomes a vampire film, the little girl an age-old vampire, her father a master criminal. When the revelation is made, the main part of the plot is her attacking the various members of the kidnapping group. They have codenames, the central character, Joey (Melissa Barrera) has a skill of explaining some of the background of each of them so the audience knows their personalities, skills, dark secrets.

There are very few holds barred in the presentation of the vampire attacks, especially the bloodsucking and the destruction scenes, massive blood explosions as each character passes into eternity. There are various betrayals, revelation of secrets, the role of the young girl, the final appearance of her father (a surprise in Matthew Goode).

Dan Stevens is the leader of the group, it is a pity that the most sympathetic of the group played by Will Catlett is killed early. Angus Cloud is the young sociopath. Kevin Durand is the heavy. The other female participant is the tech expert, played by Kathryn Newton.

A lot of the action and performance is very much tongue in cheek, touches of comedy and parody, and a huge overload of coarse wearing language.

For the fans of horror films with twists.

KISS ME, KATE, The Musical

UK, 2024, 160 minutes (15 minutes intermission), Colour.

Adrian Dunbar, Stephanie J Block, Charlie Stamp, Georgina Onaurahm John Stacy, Nigel Lindsay, Hammad Animashaun, Peter Davison.

Directed by Bartlett Sher.

Kiss Me, Kate is a 1948 Broadway musical, book by Sam and Bella Spewak, music by Cole Porter. It was successful on Broadway, made into a lavish in MGM feature film with Kathryn Grayson, Howard Keel, Ann Miller, and an introduction to Bob Fosse and Carol Chaney and Fosse’s choreographic style.

This version is staged in London’s Barbican theatre.

The stage is very adaptable, movable, at times backstage of the theatre where Shakespeare’s The Taming of the Shrew is being performed, sometimes the dressing rooms, sometimes the outside, and sometimes the stage itself for the Shakespearean performance. Which means that the costumes move from 1948 style to period costumes.

This version does have some reservations about the male chauvinism of the central character, a speech by Adrian Dunbar as the lead and the  of director The Taming of the Shrew, highlighting more contemporary issues of feminism, women’s rights, misogyny… The audience is asked to accept these perspectives in Shakespeare’s play.

There is some parallel of Shakespeare’s play in the relationship between the leading actor and the leading actress, formerly married, divorced, she engaged to a high-powered military presence at the White House, even taking a phone call from the President. She is played by Broadway star, Stephanie J.Block. It is a surprise to find dramatic actor on screen and television, Irish Adrian Dunbar, as the director. She has a strong stage voice, his rather more subdued, pleasant.

There is a strong supporting cast of singers and dancers and, at times, some lively choreography, especially with the ensemble joining in Its Too Darn Hot. Audiences familiar with the play and the film version will be looking forward to the renditions of the various songs and the choreography. The basic plot about the divorce, the reunion on stage, the engagement, a final reconciliation seeming rather slight in comparison.

Which means that the Cole Porter music and lyrics are what is important. The central song is So in Love, sung by both leads. The actress playing the younger sister, Bianca, has the showstopper of Faithful in my Fashion. The lead has The life I Lately Led. The actress has I Hate Men. And there is the jaunty introduction to the play on tour, We open in Venice…

But, as in the film, so much of the show is stolen by the two supporting actors playing the gangsters who have to keep an eye on the lead because one of the lesser actors has signed his name for a betting loan. They have their guns, create some mayhem on stage and behind the scenes but, ultimately, have their song, Brush Up your Shakespeare, with its jaunty tune, its amusing lyrics and plays on Shakespeare’s titles and characters (and rhymes), even getting the audience to join in.

Kiss Me, Kate has its high moments and its rather more ordinary moments, so, something of a mixed classic.

A PERFECTLY NORMAL FAMILY

Denmark, 2020, 97 minutes, Colour.

Kaya Toft Loholt, Mikkel Boe Folsgaard, Rigmor Ranthe.

Directed by Malou Reymann.

With this title, and its tone, audience will expect that we are not going to be looking at this perfectly normal family. This is a Danish film, dramatising gender transition. (And remembering that Denmark was the location for the 1953 celebrated case of transition, Christine Jorgensen).

At first, the family seems perfectly ordinary, mother, father, older daughter, younger daughter, and seeing them together, the little girl playing football with her father support, a family gathering. Then, the announcement that Thomas the father has already begun transition and his wife has asked for divorce.

While the film does give some attention to Thomas and his transition to Agnete hormone treatment et cetera in Denmark, going to Thailand for the final surgery, returning, email appearance, style, manner.

The focus of the film is on the effect of the transition on the two children, especially the younger daughter. She switches in moods and attitudes towards love for her dad, upset at the change and the consequences for the family. There is an effect on the older daughter who seems to be more accepting. The key scene is the older daughter’s confirmation where everybody gathers, speeches are made, acknowledgement of Agnete, the younger daughter making a speech and the two sisters embracing.

There is a further complication when Agnete decides to take up a position in London, the two daughters most unwilling but finally capitulating and some sequences of their visit to London and sightseeing with their dad.

Those interested in the transgender issues, a strong talking point. For those against transgender issues, and during the early 2020s, quite some resistance, for example in the US, providing more ammunition for their cause.

1. The title, the focus on the family, ordinary, the change, the consequences?
2. Danish society, issues of transgender, acceptability, public opinion? The director from Holland?
3. Ordinary society, homes, school, football matches, outings? The musical score?
4. The father, Thomas, the marriage, relationship with his wife, the two daughters, their ages, his bond with Emma and her football? Jovial? The mother, in the background? The meal, her announcement about the divorce, the instant reactions?
5. Thomas and his story, the long sense of being female, his marriage and children, still being dad, but consultation, therapy, hormone treatment, the change, the meetings, the family with the therapist, the upsets, his going to Thailand, the surgery, his coming back?
6. Thomaas becoming Agnete, the name, his appearance, clothes, female manner, with the children, in going out, social, the future?
7. The repercussions for the two daughters, Caroline, her age, more accepting? Emma, her age, trying to comprehend? The ups and downs of the relationship? The issues of living with each parent? The holiday, sharing the enjoyment, Emma and her ups and downs, acknowledging Agnete or not? The other families, the table, the comments about the resembling their mother…?
8. At home, the situations, the football, Emma at school, the gossip of the children, the taunts, her reactions? Caroline, building up to the confirmation, the celebration, everybody present, her grandfather’s speech, reference to his son-in-law, the song, Emma and her speech, Caroline happy, the mother happy?
9. Emma and her ups and downs, relying on her ups and downs?
10. Agnete, deciding to move to London for the job, the reactions of the children, Emma and her demands, Caroline and her demands? Agnete and her explanation, the promises?
11. The upbeat ending, the visits to London, the tourism? The future of this perfectly normal family?

JESUS CAMP

US, 2006, 87 minutes, Colour.

Directed by Heidi Ewing, Rachel Grady.

The documentary which won many awards and was nominated for an Oscar for Best Documentary.

In its time, it was a focus on evangelical Christians and their mission to reclaim America. It was made during the second term of George W Bush as president.

The completed film was shown to the evangelicals who approved its content and style and its being seen. The director spent a lot of time at some evangelical conventions and, especially, at a summer camp for youngsters, primary school age generally, in Missouri. There is also a sequence in a huge evangelical church gathering in Colorado Springs led by its minister, Ted Haggard.

The directors also included interviews with a Christian radio broadcaster, Mike Papantonio, and at his desk and microphone, taking calls, especially in the latter part from Becky Fisher, one of the main leaders in her own church and at the Jesus Camp. However, he is very critical of what he considers the extremes of these evangelists, their indoctrination of the children, the effects of this kind of “brainwashing” on them and their future. It is interesting that the approved the film including the Papantonio sequences and commentary.

Blog comments on the Internet movie database are with consulting. Almost 100% they are in favour of Mike Antonio and his critique, the acting strongly to the indoctrination of the children, many naming it as abuse.

Becky Fisher is enthusiastic, speaks to camera, as a vision of the United States is a country loyal to Jesus Christ. She is very enthusiastic, rising up the children, their responding eagerly to her as well as to some others her assistance, especially one, looking somewhat sinister one might think, engaging with the children, talking about the unborn child, little packets of miniature foetuses, class of the children, rousing them to be Crusaders for pro-life.

The film also focuses on three young children, Levi, Rachel, Tori. Levi, son of a Minister, is extraordinarily confident, his uninhibited in his being photographed, in his being interviewed, in his declarations and enthusiasm. Rachel is the same. Tori, also convinced, is more involved in dancing and music in the evangelical context.

The film shows the intensity of some of the sessions, the enthusiasm aroused by Becky Fisher, her getting them to pray, silence, then charismatic, speaking in tongues, leading to a great deal of emotion and, especially, weeping, some religious frenzy. And, many of the children out there with their parents who encourage them to respond fully to the evangelists.

Depending on one’s point of view, once religious convictions and practice, the response to the film will be enthusiasm for these are most people, their strong beliefs, their spirit of crusading, their slogans of fighting, some of the dance routines which highlight weapons and martial attitudes. But, as indicated by the end IMDb responders, the sequences are frightening, especially where a cardboard cutout of the Pres is introduced, is made out to be the equivalent of a St and crusading leader, and the children regarding him like this.

And, there is some speculation as to what the children will be like in time to come. Googling Levi and Jesus camp, there is an interview with documentary filmmaker, Morgan Spurlock, five years after the events of Jesus Camp.

Viewing the film almost 20 years later, especially in the aftermath of the re-election of Donald Trump, the film is even more frightening. These youngsters of 2006 grew up to be among the cohort of voters for Donald Trump in 2024.

For audiences watching the film in the aftermath of the 2024 elections, and realising how much of the film was prophetic, recommendation would be to watch the films of documentary filmmaker, Don Parker and. He made to documentaries on Donald Trump himself, a critique for the 2020 elections, a critique for the 2024 elections, the first with the word And fit in the title, the second with the word And truth in the title.

But, particularly relevant to Jesus Camp is his second film in this trilogy, 2023, entitled God and country. It is in the vein of Jesus Camp except that it is highly critical of the evangelicals, the reclaiming of America by this kind of Christianity and the endorsement of the MAGA saved by Donald Trump. In God and Country, there are many interviews with these extreme evangelical Christians, and scenes of them praying and proclaiming in the attack on the Capital on generally the sixth 2021.

Jesus camp made an impact in its time, and is still frighteningly relevant.