Critical Faith podcast is a space that fosters conversation about all things faith, fellowship, and society and that it gives its audience a glimpse into the everyday life of the students at the Institute for Christian Worship Studies.
Onward contains a number of 1980s movies. It’s part Goonies, a small part E.T., and a big helping of Weekend at Bernie’s.
It is this cultural phenomenon of Dolly Parton – the woman, the myth, the legend – that the podcast production team of Jad Abumrad and Shima Oliaee jump into with both feet.
On each episode of Refugia, Rienstra interviews various experts of science, religion, music, worship, activism, and more about what refugia means for them and how we as humans—and even more specifically, as Christians—can actively be a part of creating spaces of refugia.
By now in February 2020, Bong Joon Ho’s Parasite is one of the most lauded films of the 21st century. It won the coveted Palme D’Or prize at the 2019 Cannes Film Festival. It’s also one of the rare foreign-language films (it’s Korean) to receive an Academy Award Best Picture. With all of that acclaim, you’d think that Parasite would be a stunning masterpiece.
The most striking aspect of Sam Mendes’ new World War I movie, 1917, is the backgrounds. Rare as it is for the backgrounds to shine brighter than the actors and foregrounds in movies, Mendes has achieved it; I believe that was his goal.