Debbie Tucker Green’s dreamy, ambiguous urban parable is rooted in utterly believable performances
Miracles may be an everyday occurrence, but in a secular age they can be less of a blessing than a curse. Films as diverse as Carl Theodor Dreyer’s Ordet, Denys Arcand’s Jesus of Montreal and, more recently, Dietrich Brüggemann’s Stations of the Cross have wrestled with the anachronistic intersection between the domestic and the allegedly divine, with results ranging from comedy to tragedy. In terms of subject matter, playwright Debbie Tucker Green’s beautifully ambiguous debut feature perhaps bears comparison with Richard Glatzer and Wash Westmoreland’s 2006 oddity Quinceañera (aka Echo Park La), in which a Mexican-American girl approaching her 15th birthday discovers she is pregnant, despite her certainty that she is still a virgin.
In Second Coming, Jackie (Nadine Marshall) is a middle-aged mum with a history of miscarriages whose family life...
Miracles may be an everyday occurrence, but in a secular age they can be less of a blessing than a curse. Films as diverse as Carl Theodor Dreyer’s Ordet, Denys Arcand’s Jesus of Montreal and, more recently, Dietrich Brüggemann’s Stations of the Cross have wrestled with the anachronistic intersection between the domestic and the allegedly divine, with results ranging from comedy to tragedy. In terms of subject matter, playwright Debbie Tucker Green’s beautifully ambiguous debut feature perhaps bears comparison with Richard Glatzer and Wash Westmoreland’s 2006 oddity Quinceañera (aka Echo Park La), in which a Mexican-American girl approaching her 15th birthday discovers she is pregnant, despite her certainty that she is still a virgin.
In Second Coming, Jackie (Nadine Marshall) is a middle-aged mum with a history of miscarriages whose family life...
- 6/7/2015
- by Mark Kermode, Observer film critic
- The Guardian - Film News
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