Special Features Review of “Becoming Truly Human” By Fr. Sergius Halverson Fall 2018
When I think of Orthodox Christianity as portrayed in American movies, I think of weddings. The Deer Hunter (1978), has its famous wedding scene, filmed at St. Theodosius Cathedral in Cleveland, with a full choir and a packed church, depicting the long-gone “glory days” of Midwestern steel towns. Conversely, My Big Fat Greek Wedding (2002), depicts the unceremonious baptism of the fiancée in an inflatable kiddie pool in an otherwise empty church. Whether Orthodox Christianity is portrayed sympathetically or critically, it is usually relegated to a supporting role in major movies. So, when I learned that “Becoming Truly Human” (2017) could be purchased on Amazon streaming video, I eagerly sat down to watch a feature film in which Orthodox Christianity has the leading role. Writer and director Nathan Andrew Jacobs (who somewhat confusingly introduces himself as Basil) tells three stories in “Becoming Truly Human”: the story of the “Nones,” people who are unaffiliated with any organized religion; the story of his personal journey from leaving the Christianity of his childhood, to becoming a husband and father who, along with his wife and children are received into the Orthodox Church; and the story of encountering Christ in the neighbor. The three stories are told through first-rate filmmaking and sumptuous cinematography.
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The “Nones”—four women and three men, all Millennials—tell their stories in group discussions led by Mr. Jacobs and in individual segments where the “Nones” look straight at us, telling us how and why they left their Christian faith. These solo segments are all filmed in an abandoned church: a striking metaphor for the abandonment of faith. Tiffany, one of the “Nones,” seems to be on the verge of tears as she describes her Christian upbringing, explaining that because nobody was willing or able to answer the difficult questions she had, she ultimately lost her faith. One of the more chilling moments in the
film is when she looks straight at you and says, “I’m sad because I want to believe there is something but there is nothing showing me that there is…When you die you just go in a box and you’re done.” All of the “Nones” are earnest, thoughtful and deeply sympathetic characters. I found myself liking all of them, and wishing that I could join in with their group discussions. One thing I like most about the discussion with the “Nones” is that it models a critical element of ministry. Nowhere in the film does Mr. Jacobs “get preachy” with his guests, nor does he present them with “all the answers.” Rather he asks questions, thoughtfully listens, and gives them the space to tell their stories. He gives us a beautiful icon of how to engage with, and minister to people who question faith. Interwoven between the accounts of the “Nones” is Mr. Jacobs’ account of his own journey from “None” to Orthodox Christian. We hear the story of a man who struggled with the Christianity of his youth, only to later discover a deeper and more powerful experience of God in Orthodox Christianity. The Jacobs family also shares the remarkable story about adopting a little boy from an Eastern European orphanage where he had languished, starved of food and love, until he is embraced by his new family. The Jacobs family expresses one of the film’s most powerful theological themes as they speak eloquently and concretely about encountering Christ in the neighbor who is in need. (Matthew 25) The third story develops the idea of encountering Christ in the neighbor through two metaphors. First, Mr. Jacobs creates a collage using pictures of people and artwork that have been important to him in his journey of faith. As the collage takes shape, the abandoned building that serves as his impromptu studio is slowly transformed into a humble little chapel, and ultimately we see that the collage is an icon of Christ. Mr. Jacobs has discovered Christ in and through the various people that he has known and loved throughout his life. Finally, the climax of the film revolves around a large rectangular panel with a gold circle in the center. After preparing it in his studio, he takes it out to an urban setting where he encounters a wide array of people. I’m not going
