On the social level, the least important dimension, this is a film about the inhumanity of globalization and the possibility of some other response to the world's problems. Irene wins an award as "entrepreneur of the year," but her business career is derailed by contact with a young waif,who combines thievery and lying with a life of service to the needy. Inspired by the girl's example, Irene gradually changes her own life style in imitation.
Irene's transformation is strongly resisted by her iron-willed aunt and business associate, the villain(ess) of the film, who views her as a nut-case, introducing the theme of whether or not Irene is saintly or insane. I will not reveal how that is resolved.
Sacred Heart is a common Catholic religious symbol, referring to the Sacred Heart of Jesus as a symbol of divine love incarnate. For more than one hundred years it has been a popular devotion. There is no explicit reference in the film to this; rather, it is attributed to Irene's mother as a reference to a second heart within each of us that has to be discovered and nurtured. I might point out that this can easily be identified with the Catholic devotion; it can also be viewed as an attempt to strip the devotion of its explicit Catholic elements, to secularize it, so to speak. Other examples of ambiguity are in Irene's praying to her mother, which can be interpreted as being to her natural mother or to Mary, the Mother of God, or to both; her compassionate cradling of the pitiful Giancarlo in a pose that is modeled upon Michelangelo's Pieta; and giving away even her clothes, modeled upon the example of St. Francis. But none of these allusions are explicitly identified.
The waif's combination of thievery, lying, and self-denying service of the poor reminded me of Christ's saying, "Much has been forgiven her because she loved much." But it is her example that first inspires Irene, and Irene's example inspires the psychiatrist who treats her at the end. So we have the theme of goodness having a multiplier effect.
There is further ambiguity in the portrayal of the institutional Church. The priest is portrayed as compassionate, but troubled by doubts, being in need of consolation, which is supplied by Irene, implying that holiness trumps official office. (Nothing sexual here, this movie is about sanctity as infectious).
You may have inferred that this is a movie about women, and that is true. All the five main characters are women; the priest is important, but the psychological dynamics are between the women.
I could say more about the way golden lighting shining in darkness is employed throughout the film, the pattern of what I call "blessing music" that punctuates the plot, the use of parallel details to provide structure, etc. These reward reviewing and repondering.
Irene's transformation is strongly resisted by her iron-willed aunt and business associate, the villain(ess) of the film, who views her as a nut-case, introducing the theme of whether or not Irene is saintly or insane. I will not reveal how that is resolved.
Sacred Heart is a common Catholic religious symbol, referring to the Sacred Heart of Jesus as a symbol of divine love incarnate. For more than one hundred years it has been a popular devotion. There is no explicit reference in the film to this; rather, it is attributed to Irene's mother as a reference to a second heart within each of us that has to be discovered and nurtured. I might point out that this can easily be identified with the Catholic devotion; it can also be viewed as an attempt to strip the devotion of its explicit Catholic elements, to secularize it, so to speak. Other examples of ambiguity are in Irene's praying to her mother, which can be interpreted as being to her natural mother or to Mary, the Mother of God, or to both; her compassionate cradling of the pitiful Giancarlo in a pose that is modeled upon Michelangelo's Pieta; and giving away even her clothes, modeled upon the example of St. Francis. But none of these allusions are explicitly identified.
The waif's combination of thievery, lying, and self-denying service of the poor reminded me of Christ's saying, "Much has been forgiven her because she loved much." But it is her example that first inspires Irene, and Irene's example inspires the psychiatrist who treats her at the end. So we have the theme of goodness having a multiplier effect.
There is further ambiguity in the portrayal of the institutional Church. The priest is portrayed as compassionate, but troubled by doubts, being in need of consolation, which is supplied by Irene, implying that holiness trumps official office. (Nothing sexual here, this movie is about sanctity as infectious).
You may have inferred that this is a movie about women, and that is true. All the five main characters are women; the priest is important, but the psychological dynamics are between the women.
I could say more about the way golden lighting shining in darkness is employed throughout the film, the pattern of what I call "blessing music" that punctuates the plot, the use of parallel details to provide structure, etc. These reward reviewing and repondering.