Mary Magdalene (2018)
Directed by Garth Davis
In the first century, free-spirited Mary Magdalene flees the marriage her family has arranged for her, finding refuge and a sense of purpose in a radical new movement led by the charismatic, rabble-rousing preacher named Jesus.
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What critics say influenced Mary Magdalene
After seeing the torture porn of The Passion of the Christ, the brief crucifixion sequence here feels like nothing more than a concession – it has to be included within the story, even if it’s oddly one of the least intellectually stimulating events to occur.
From Pierre Paolo Pasolini’s The Gospel According to Saint Matthew and Martin Scorsese’s The Last Temptation of Christ , to Mel Gibson’s The Passion of the Christ , biblical stories have inspired generations of filmmakers across the decades, with each director adding his own aesthetics and sensitivity to a story known by millions across the globe.
We’ve had gory Jesus (Mel Gibson’s The Passion of the Christ), randy Jesus (Martin Scorsese’s The Last Temptation of Christ), even satirical Jesus (Terry Jones’s Life of Brian).
The violence is kept to a minimum and anyone fearing the graphic nature of The Passion of the Christ should rest assured that tenderness is this Mary Magdalene's defining quality.
We’ve had gory Jesus (Mel Gibson’s The Passion of the Christ), randy Jesus (Martin Scorsese’s The Last Temptation of Christ), even satirical Jesus (Terry Jones’s Life of Brian).
The staging of certain sequences, namely the repeated sight of immense crowds flocking to Jesus, leaves the frame overwhelmed with riotous bodies in a manner that recalls the spiralling insanity of Darren Aronofsky’s recent biblical parable, mother!.