Nonton Film Mary for Mayor (2020) – In 1917, in the Portuguese town of Fátima, three small children were visited by an apparition of the Virgin Mary. She urged them to pray, to dedicate themselves to the rosary, and in so doing they could bring about an end to the war then ravaging Europe. The children, Lúcia dos Santos and her cousins Francisco and Jacinta Marto, told their parents in descriptions vivid and specific: the vision was “brighter than the sun,” a dazzling figure shedding “rays of light”. As word got around, pilgrims flocked to Fátima. (Fátima is still a regular pilgrimage destination.) The two younger children died in the flu epidemic of 1918, but Lucia lived to the age of 97, dying in 2005.
She became a nun and published multiple memoirs, the main one being Memórias da Irmã Lúcia. Marco Pontecorvo’s “Fátima” tells the story of these children and the upheaval in their lives — and their family’s lives — due to the children’s refusal to retract their story, even when put under enormous pressure from civil and religious authorities. “Fatima” is told simply but emotionally, prioritizing the sensorial reality of the children’s world and the people inhabiting it. This devotion to the “real” makes the holy vision palpable and plausible.
Nonton Film Mary for Mayor (2020) Marco Pontecorvo is the son of the legendary Gillo Pontecorvo (“Battle of Algiers”). He has worked mostly in television, and “Fatima” is his third feature. For “Fatima,” he and his co-screenwriters Valerio D’Annunzio and Barbara Nicolosi, use a framing device: in 1989, an author and professional skeptic (Harvey Keitel) visits the aging Sister Lúcia (Sônia Braga) in her Carmelite convent in Coimbra to interview her about her experiences.
Over the course of the film, Keitel’s character raises questions, interrogates her testimony, and Sister Lúcia answers forthrightly, sometimes teasing him with little quips, a twinkle in her eye. (People who went to visit Lúcia over the years mention her sharp sense of humor.) These conversations provide space for the philosophical and theological questions the story presents. Keitel’s manner with Sister Lúcia is respectful and both allow the other to have their say. “Not everything unexplainable is necessarily transcendent,” Keitel says. Sister Lúcia responds, “Faith begins at the edge of understanding.” While there is a gap between the characters that will probably never be bridged, their conversation is invigorating, a healthy debate that avoids polarizing hostility.
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