Magdala

Openly confronting the Christian iconographic tradition of a “White Savior,” a radical iconoclast presents a mystic and sensorial cinematic experience, following a black Mary Magdalene on a meditative journey after the death of Jesus. Withdrawn from the world, a white-haired devastated figure turns inwards and then deep into the forest, eating berries, drinking water from the rain, and sleeping among the trees. Building on the tradition (and sensibility) of slow cinema, this quasi-metaphysical meditation renders Mary’s agonized final days on earth with eerie physicality and tenebrous eroticism.