This post originally appeared at the Trinitas Christian School blog.
Every quarter, our students are invited to participate in our Classic Film Society. We gather, eat popcorn, watch movies, and then spend time discussing the ways these films wrestle with the Gospel, even if they do it inadvertently. This is more than just an excuse to watch good movies, because movies are one of the primary way our culture searches for the Gospel. Directors aren’t necessarily looking to imbed the content of Christianity in their film, but they cannot escape the shape of Christianity. Films made in the past demonstrate this, as do those that continue to come to a theater near you.
And this is one of the beauties of our Classic Film Society: what we do connects with current movies as well. In fact, it’s probably most helpful to understand the word classic like this: “Here is the body of work which sets the standard for all subsequent achievement.” If the box office numbers are any indication, Star Wars: The Force Awakens will set the standard for years to come. So does Episode VII wrestle with the Gospel? I think it does, by dealing with specific elements of the Gospel shape found in so much of our world’s media.
For instance, the universe Star Wars inhabits is a moral one, dealing with good and evil. There is a clear villain (Kylo Ren) and a clear hero (Rey). There is transformation, as Finn becomes less of a selfish character, and even risks his life to save someone else (not once, but twice). And all of this surfaces in the midst of a story that often advocates “balance.” But make no mistake, there is good and there is evil; there is light and there is dark. Even the cinematography embodies this concept, with the light being extinguished at the pivotal moment of choosing the light or the darkness.
These ideas provide excellent conversation starters. For instance, if this morality is driven by feelings, how are viewers to understand the problems that so often arise from characters pursing their feelings? A Jedi must feel the force, but must also avoid attachment. Is it because our feelings are so often wrong (Jer. 17:9)? And if feelings are to be the guide to the Force, as Obi-wan instructs Luke in Episode IV, what happens when a character feels the draw of the dark side? The questions abound, and the answers aren’t always airtight, but these are the kinds of things that Christians should think about when engaging with contemporary film. The Force Awakens should be a segue to a bigger conversation about Truth and Beauty and Goodness. Just like those we have at Classic Film Society.
 If you’re interested in reading more about this idea, Gavin Ortlund has a nice introduction here: http://www.thegospelcoalition.org/article/3-ways-movies-are-searching-for-the-gospel.
 I have explored this before, particularly in relation to the Lord of the Rings movies (http://humanepursuits.com/a-world-where-feelings-are-king/).