The Call To Commit

Many of us often find ourselves in the pursuit of callings that may seem out of character or that we don’t fully understand ourselves. These ventures frequently require true commitment on our part, yet we may also find ourselves perplexed by their seeming inexplicability. And, if we think about walking away from them, we simply can’t bring ourselves to do so. So what’s behind these ostensibly obsessive undertakings? That’s something those of us in these circumstances must figure out for ourselves. In fact, it’s the key question that the protagonist must ask herself in the new, fact-based biopic, “Lee” (web site, trailer).

Elizabeth “Lee” Miller (1907-1977) (Kate Winslet) led a curiously intriguing life. In the mid to late 1920s, she was one of the most sought-after models in the fashion industry. She was aggressively pursued by many of New York’s fashion artists and photographers, having graced the cover of magazines like Vogue. Her life as a fashion icon eventually spurred her own interest in photography, and, in 1929, she moved to Paris to study the art as a model and apprentice. While there, she made many high-profile friends in the art and fashion communities, such as Solange d’Ayen (Marion Cotillard), fashion editor of the French edition of Vogue, along with poet Paul Éluard (Vincent Colombe), painter Pablo Picasso (Enrique Arce), photographer/artist Man Ray (Seán Duggan) and writer/artist Jean Cocteau. She spent much time socializing with them as her modelling career began winding down in the late 1930s, a time when there was less call for “mature” women like her.

With British Vogue Editor Audrey Withers (Andrea Riseborough, left), model-turned-photographer Elizabeth “Lee” Miller (Kate Winslet, right) discusses her future with the magazine as a war correspondent in the new, fact-based biopic, “Lee,” now available for streaming online. Photo courtesy of Roadside Attractions.

However, despite the enjoyment that came from this life of leisure, Miller grew somewhat bored with it. She had an unfulfilled burning desire to do something more meaningful with herself and her life than attend weekend getaways with her Bohemian friends. True, she was still practicing photography at this time, but much of it was focused on casual subjects, like candids of her peers. She was earnestly looking for something more.

While attending one of her gatherings of friends, Miller met British surrealist painter Roland Penrose (Alexander Skarsgård), with whom she quickly fell madly in love. Not long thereafter, the couple moved to his native London at the outset of World War II, where they both sought to embark on new careers. As a conscientious objector, Penrose kept himself out of active combat duty by drawing upon his background as an artist, assigned to work as a camouflage designer for the British military. But, even though Penrose had found his calling, Miller was still trying to find herself. Seeing that her partner was putting his talents to use in his work, she decided to try and do the same, approaching the staff of the British edition of Vogue to act as a photographer. Miller’s editor, Audrey Withers (Andrea Riseborough), gave her a try-out that produced some inventive, impromptu wartime-inspired fashion photography during the London Blitz, a project that landed her a full-time position with the magazine. Curiously enough, though, this launched Miller on an entirely new, unanticipated career trajectory – that of a combat photographer for, of all things, Vogue.

British surrealist painter Roland Penrose (Alexander Skarsgård) wins over the heart of model-turned-photographer Elizabeth “Lee” Miller in director Ellen Kuras’s “Lee,” now available for streaming online. Photo courtesy of Roadside Attractions.

Initially, Miller tried working with the British military but soon found out that she, as a woman, would not be allowed to be one of the journalists embedded with the troops. And so, as an American citizen, she sought a comparable position with US forces, a request she was granted. While in this post, she became a friend and colleague of LIFE magazine photographer Davy Scherman (Andy Samberg), with whom she collaborated on numerous battlefield and front line assignments. Thus began Miller’s courageous career as an intrepid war correspondent covering the conflict in Europe. And, for her, once she committed to this venture, there was no turning back.

During the course of her efforts as a wartime correspondent, Miller was present for some of the most momentous events of World War II. She documented the intense battle for the French town of Saint-Malo after the 1944 D-Day invasion. She then went on to cover the heroic liberation of Paris and the Battle of Alsace. Then came the liberation of the German concentration camps of Dachau and Buchenwald, events that affected her profoundly but from which she could not turn away, convinced that the world needed to be made aware of what had transpired under Hitler’s Regime. She also became famous for a provocative photo in which she posed naked in the bathtub of the Führer’s private apartment in Berlin after his suicide and the city’s liberation by Allied Forces. The film features re-creations of many of these events, showing just how far Miller was willing to go to get the story and to document it for the world to see, regardless of whatever emotional cost it may have had on her. Indeed, who would think that this would be the kind of work that a fashion model would be cut out to perform?

Combat correspondent colleagues Elizabeth “Lee” Miller (Kate Winslet, right) and Davy Scherman (Andy Samberg, left) cover some of the biggest stories of World War II, as seen in the new, fact-based biopic, “Lee.” Photo courtesy of Roadside Attractions.

“Lee” tells the protagonist’s story mostly through flashbacks intercut into an interview that an elderly Miller gave to a curious but mysterious young writer (Josh O’Connor) not long before her death in 1977. They discuss her experiences and examine the photos she took, many of which didn’t receive the kind of attention and recognition that they deserved at the time they were shot but that were now surfacing for the world to see in greater detail. Through her work, Miller gave us a prolific record of a terrifying time in human history, one that took its toll on her but that told the truth about things that many probably would have rather not wanted to know about but that they definitely needed to hear. Such is what comes from the call to commit – and the historic documentation to come from it.

So how is it that someone like fashion model Lee Miller would end up as an on-the-ground war correspondent? At first glance, these two endeavors would appear to be the height of incongruity, and many on either side of these ventures would probably make unlikely candidates to cross over from one to the other. Yet there she was, pursuing an undertaking that would likely leave most onlookers scratching their heads. So the question remains, why?

As becomes apparent through this story, much depends on Miller’s beliefs, and that’s important to recognize in light of the role they play in the manifestation of our existence. It’s unclear whether Miller had ever heard of this school of thought; in fact, it’s not apparent that she even fully understood the beliefs that drove her and rendered these results, let alone appreciate how they made her reality possible. However, one thing is obvious – her beliefs provided the basis of her call to commit to her work, and that was undeniable given her passion, drive, stamina and unwavering dedication, no matter what the dangers or the personal cost to herself.

Solange d’Ayen (Marion Cotillard), fashion editor of the French edition of Vogue magazine, struggles to survive the German occupation of Paris during World War II, as seen in the new, fact-based biopic, “Lee.” Photo courtesy of Roadside Attractions.

One could debate the precise nature of the underlying motives and intents that drove Miller. If any of them were paramount in her mind, it would probably be her devotion to the belief of revealing the truth of what was happening. During World War II, society generally did not possess the kind of instantaneous access to news and information about global events that we have today. Even the events of that day, which we now take for granted as common knowledge, were not readily known to the world at large at that time. So, in the wake of the atrocities occurring in Europe at the time – both on the battlefield and in the institutions employed to carry out Hitler’s Final Solution – many average individuals probably knew little about the unspeakable events that were transpiring. Miller believed that the horrors of war and crimes against humanity needed to be exposed for everyone to see. And she undertook this task in earnest to make them known.

Miller’s commitment to this cause was driven in large part by the notion that she needed to have something meaningful to do now that her modelling career was largely behind her. As entertaining as her gatherings with her friends were, they were comparatively inconsequential, and she felt she had a greater purpose to fulfill than engaging in socializing and participating in philosophical discussions and high society small talk. So, when the opportunity arose to employ her photographic talents as a war correspondent – a manifestation that she ultimately drew to herself through the power and focus of her beliefs – she jumped at it.

Even if Miller herself didn’t completely understand the nature of these beliefs, they nevertheless expressed themselves as manifestations of her true being. By pursuing this course, she lived out her destiny, a bona fide expression of her true self. Considering what she endured, Miller was conscientiously dedicated to following through on her commitment, even if it wore on her personally. That’s particularly true of what she saw – and captured photographically – during the liberation of the death camps, giving her pause to wonder how anyone or any society could be so unrelentingly cruel to one’s fellow man. Despite the wrenching pain and anguish involved in this, though, Miller believed she had to carry through on her documentation of what happened so that the world could witness the horrendous acts that had occurred. Difficult as that might have been, enduring such conditions was all part of Miller’s value fulfillment, the act of being her best, truest self for the benefit of herself and those in the wider world. And it’s a task she undertook with remarkable persistence, devotion and authenticity, now serving as a model of a different kind, one we should all be willing and capable of emulating.

Model-turned-photographer Elizabeth “Lee” Miller (Golden Globe Award nominee Kate Winslet) sees a new life for herself as a war correspondent in director Ellen Kuras’s new, fact-based biopic, “Lee,” now available for streaming online. Photo courtesy of Roadside Attractions.

There are times when many of us may feel compelled to pursue something for reasons that we don’t always fully understand but that we can’t walk away from, either, no matter what the personal cost may be. So it was for Miller, whose compelling accomplishments were unmatched in the field of wartime journalism. She left us a record that may be troubling to view but that also made us aware of humanity’s baser instincts, acts that we must truly never forget in the hope that we never repeat them. In chronicling Miller’s life, this engaging biopic from director Ellen Kuras details the hard choices she made, both personally and professionally, as well as her drive to document the difficult truths behind this deadly and unsettling conflict. While the picture has a tendency to be somewhat episodic at times, it nevertheless presents a series of intriguing back stories behind a variety of incidents from the storied career of this unlikely but widely regarded journalist. This offering’s fine period piece production design effectively captures the differences between the two diverse worlds in which the protagonist lived – the elegance of high fashion and the gritty wartime landscape – backed by Winslet’s superb performance (a strong awards season contender that has already earned the actress a much-deserved Golden Globe Award nomination) and the fine supporting portrayals from an excellent ensemble cast, including Riseborough, Cotillard and a surprisingly effective Samberg. These attributes aside, though, it’s somewhat mystifying how this release came and went from theaters as quickly as it did, having played ever so briefly in moviehouses. “Lee” truly deserved wider attention than it received, but, thankfully, it’s now available for streaming online.

It takes courage to stick to one’s convictions in a time of combat, especially when the potential cost to oneself is as high as it was for Miller. But the world is better off for her valiant efforts in showing us what we might have missed but about which we all desperately needed to know. Such is what often happens when we hear the call to commit, no matter what the field of undertaking might be. The drive behind such efforts can be inexplicably insistent, almost taking the form of a compulsion that many standing on the sidelines may have difficulty understanding. However, when we see what emerges in the end, the rationale behind such ventures generally surfaces to enlighten us to a greater truth. And, when that happens, we can all be thankful for the initiative that those noble individuals undertook on our collective behalf – and for a world made better off for their efforts.

A complete review is available by clicking here.

Soul-Searching Sci-Fi

Moral dilemmas often call for making hard choices, matters necessitating profound, introspective soul-searching. The differences in the available options can be significant, both offering profound advantages and drawbacks. And, almost invariably, no matter how beneficial one choice may be compared to the other, there are losses to be incurred in the choice not taken. Those are among the issues examined in the thoughtful sci-fi offering, “Saturn” (web site, trailer).

As this insightful release illustrates, making such hard choices is a process that can include not just us mortals, but also supernatural beings who possess tremendous powers and even greater responsibilities. When the Earth’s existence is threatened by the sudden appearance of an enormous, mysterious, seemingly menacing planet in the sky above, a mild-mannered professor and family man (Dominic Bogart) who carries a secret about his true nature must decide whether to continue living out the life he so dearly enjoys or live up to an ancient obligation as a protector of the world. Can he make the right choice between quiet domestic contentment with his wife (Piercey Dalton) and son (Elijah Maximus), or must he inevitably bring himself to sacrifice this tranquil life in order to fulfill his sacred responsibility of keeping his promise to save a questionably deserving planet, one that has repeatedly failed through the ages to attain the stability and social maturity hoped for it by its guardian shepherds?

Mild-mannered professor and family man James Lewis (Dominic Bogart, left), who carries a secret about his true nature, must decide whether to continue living out the life he so dearly enjoys with his wife, Sarah (Piercey Dalton, right), and son, George (Elijah Maximus, center), or live up to an ancient obligation as a protector of the Earth, as seen in the insightful sci-fi offering, “Saturn.” Photo courtesy of Mew Films.

Such is the heady question presented in writer-director Eric Esau’s morality play set in a world of extraordinary circumstances. The filmmaker’s third feature outing provides viewers with a look into a scenario where much is on the line for both the planet and for one of the individuals sworn to save it, along with the personal reflection he must undergo in deciding which choice to make. While the film could occasionally use some quickened pacing in the first half, it nevertheless delivers on its central premise with ample heartfelt emotion, a quality rarely seen in sci-fi offerings to the degree that it’s on display here, a trait that truly sets this release apart from other such pictures that rely more heavily on special effects and other glitzy gimmicks to carry the story. It might even bring a tear to one’s eye, something almost unheard of for releases in this genre.

Admittedly, finding this offering may take some effort at the moment, as it has been principally playing the film festival circuit. But “Saturn” is one of those movies decidedly deserving of wider attention as a theatrical or streaming release. If you’re an ardent fan of movies like this, this one should definitely be on your watchlist.

The Healing Power of Letting Go

Engaging in acts of forgiveness can be among the most difficult life tasks that any of us undertake. In nearly every case, we’re called upon to absolve those who have harmed us. In many instances, we might feel so violated by these misdeeds that we simply don’t want to extend any type of grace toward our transgressors, even if they’re contrite about wanting to make amends. And, the greater the degree of the offenses committed against us, the more challenging such absolutions can be. But, despite these inclinations toward holding grudges, we should nevertheless make the effort to ask ourselves, “What do we gain by holding on to the hurt?” Indeed, isn’t it only prolonging the pain, even if we weren’t the cause of it? Resentments like this not only keep us from letting go of a difficult past, but they also serve as a continuing reminder of the anguish we experienced. Getting past these impediments to healing may not be easy, but they can yield tremendous benefits all around, as seen in the moving drama, “Exhibiting Forgiveness” (web site, trailer, paintings).

Tarrell Rodin (André Holland) has established quite a name for himself as a painter. His works have garnered considerable attention within the arts community, as well as among collectors. He’s become particularly noteworthy for his distinctive style depicting scenes from the everyday lives of urban African-American youth. While most of his paintings portray seemingly ordinary elements of daily life, nearly all of them are augmented with novel artistic twists that add a layer of depth, insight and distinction to their subject matter, elevating their impact in telling stories and taking on a life of their own.

Art inspires more than just an appreciation of beauty, as becomes apparent in the thoughtful drama, “Exhibiting Forgiveness,” available for streaming online. Photo courtesy of Roadside Attractions.

Tarrell’s success has afforded him and his family a comfortable life. He and his wife, Aisha (Andra Day), live with their young son, Jermaine (Daniel Berrier), in a beautiful home with a spacious studio. Their affluence has also enabled Aisha to work on developing a promising musical career, though she has patiently deferred her efforts somewhat to give Tarrell the time and space needed to allow his rising star to continue to soar through a series of successful gallery shows (much to the delight of his agent, Janine (Jamie Ray Newman)).

However, while Tarrell’s devotees have generally sat back and admired the sheer beauty of his work, there’s something about his paintings about which most of his fans and followers are unaware: Nearly all of these creations have been inspired by events from his own childhood. And, when one examines these works closely, it becomes apparent that many of them depict incidents that are quietly troubling. Nevertheless, Tarrell has kept mum about their underlying nature. But why? While Tarrell’s reasons for this would appear to be his own (some of which he might not even be fully aware of himself), circumstances are about to arise that bring all of this to light. And it all begins with a visit to his aging mother, Joyce (Aunjanue Ellis-Taylor).

For some time, Tarrell has been encouraging Joyce to move in with him and his family, a prospect about which she has been dragging her feet. While paying her a visit to help her get ready for the move, Tarrell discovers she’s done little to prepare for it. And, when he sits down with her to discuss it, he finds out why: It seems she’s got a commitment to keep her in her current home, one that infuriates Tarrell when he finds out.

Painter Tarrell Rodin (André Holland, left) and his musician wife, Aisha (Andra Day, right), seek to express themselves in ways more profound than either of them is aware, as seen in writer-director Titus Kaphar’s debut feature, “Exhibiting Forgiveness,” available for streaming online. Photo courtesy of Roadside Attractions.

In recent months, Joyce has been helping her ex-husband (and Tarrell’s estranged father), La’Ron (John Earl Jelks), in getting his life back on track. As a recovering drug addict who failed at several previous rehab attempts, La’Ron has recently been living with a pastor, Chaplain George (Chip Carriere), who has been counseling him on getting clean. Joyce’s support has played an integral role in that process, especially in matters of forgiveness. And, in explaining her reason for staying put for the time being, Joyce encourages Tarrell to now become part of that process, too.

Tarrell is initially incensed at Joyce’s suggestion. He has never forgiven La’Ron for abandoning him and his mother years before. But La’Ron’s departure is only part of the story – before deserting Joyce and Tarrell’s younger self (Ian Foreman), La”Ron committed a litany of transgressions, including physical and verbal abuse, financial swindling, rampant drug use, and a host of other offenses, leaving mother and son to fend for themselves. In Tarrell’s mind, there’s just too much bad blood between him and his father to ever reconcile. However, at the same time, he can’t ignore these developments either, forcing him to face what he has long been loath to do.

Through a series of interactive flashbacks, Tarrell relives the anguish he experienced in his youth. And, as these past incidents are depicted here, viewers come to see how those events would eventually be re-created in his paintings, almost constituting a de facto form of art therapy. In fact, the paintings and the incidents that inspired them essentially become characters in themselves in Tarrell’s story, coming to life and acting like catalysts to nudge him into addressing the pain that he has steadfastly refused to examine. With La’Ron now back in his life, backed by Joyce’s less-than-subtle arm-twisting, Tarrell has an opportunity to confront these long-buried issues.

But will Tarrell avail himself of this opportunity? Can he bring himself to forgive his father for his past misdeeds? And what will come of it for him emotionally, psychologically and artistically? That remains to be seen, of course, but there’s much at stake here on many fronts. There’s potentially much to be lost. But there’s also a lot to be gained.

Extending forgiveness is a challenging task, but it’s something that abandoned wife and mother Joyce Rodin (Aunjanue Ellis-Taylor) seeks to grant her estranged husband in the inspiring drama, “Exhibiting Forgiveness.” Photo courtesy of Roadside Attractions.

Whether or not Tarrell avails himself of this opportunity – and the outcome associated with it – will ultimately depend on his beliefs, for they fundamentally shape how his existence unfolds. It’s unclear whether Tarrell has ever heard of this school of thought, though, considering how events in his life have gone recently, it has played a role in bringing important but unaddressed issues front and center for him to contemplate and act upon. It’s not something he can willfully ignore, either, given that this scenario is one that innately calls for his direct involvement and input. He can confront it head on, or he can choose to cling to his contempt for his dad. And, even if he chooses to do nothing, that’s a deliberate decision on his part, too, one born out of his beliefs about how to respond to this issue. No matter what he decides, however, the beliefs he opts to embrace will determine how his reality manifests.

Given how Tarrell has handled this situation over the years, he’s chosen to keep La’Ron at arm’s length, and he’s been mostly content with that decision. However, something has changed recently, as evidenced by the subject matter that has started to show up in his paintings. And, even though those works may have provided him with some measure of healing, they haven’t solved the issue completely. This is apparent in several ways. For instance, at the film’s outset, his attitude is somewhat inexplicably restless, an outlook that seems to show up in such areas as his dreams, which would appear to be troubling him somewhat. Likewise, he’s been experiencing unsettling physical symptoms, conditions that have given Aisha pause for concern.

From these developments, something is clearly struggling to emerge from Tarrell’s consciousness, no doubt based on unrecognized internal beliefs that have been fighting to surface. His paintings, his psychological state and even his physical condition have all been providing clues, collectively serving as a sort of prelude to what’s to come. And, when the big revelation of his dad’s reappearance finally occurs, the groundwork has been laid to prepare him for what’s to follow. In essence, these indicators have given him a chance to ready himself for the challenge at hand.

At this point, his beliefs are about to transit from the realm of the unconscious into the domain of the conscious, and it’s up to him to decide what shape they’ll take. Prior to this point, he’s steadfastly chosen to take no action where La’Ron is concerned, and, considering how stubbornly those notions have persisted, they’re likely to be difficult to change. But therein lies one of the beauties about our beliefs – they’re capable of being altered to make anything possible, and that’s an option open to Tarrell if he chooses to embrace it. Doing so may not be easy, but changing his mind by changing his beliefs is not unfathomable.

Painter Tarrell Rodin (André Holland, left) confronts his estranged father, La’Ron (John Earl Jelks, right), for abandoning him and his mother in his youth in director Titus Kaphar’s debut feature, “Exhibiting Forgiveness.” Photo courtesy of Roadside Attractions.

To make this happen, though, Tarrell must be able to envision such a possibility in the first place. And, to that end, he has several factors in his favor when it comes to rewriting his beliefs. To begin with, he’s an artist, which means that he has a natural creative inclination, a quality that’s crucial to imagining and manifesting outcomes that might readily defy convention. Then there are the paintings he has been creating of late, works that have helped him prepare for the eventuality that has now arrived. Further support comes from Joyce and Aisha, both of whom love and care for Tarrell and want to see him be able to forgive as a means to heal his past hurts. And then there’s La’Ron, who genuinely appears to want to make up for his many faults. Collectively, these elements provide Tarrell with the means to at least consider changing his beliefs and thereby yielding a new direction for himself and, possibly, his relationship with his father.

Tarrell has wherewithal all his own to effect change, too. In the course of deliberating what to do, for instance, he encounters situations in which the subjects of his paintings ironically appear to come to life in everyday existence. Whether their presence is literal, metaphorical or surrealistic is, in the end, irrelevant; what matters, though, is the impact they have on him and his psyche when it comes to assessing his circumstances and the beliefs he wants to embrace about them as he moves forward. These conditions thus provide him with the means to mull over his beliefs as he formulates a plan of action.

However, at the same time, one cannot ignore the potential downsides that come from failing to act. This becomes apparent in the strain brought about by Tarrell’s intransigence toward La’Ron and how it, in turn, affects his relationships with himself and with others around him. While these bystanders can certainly appreciate the considerable hurt he underwent, they’re also nevertheless aware of the collateral effects that it carries, not only on him, but also on them, most notably Joyce, Aisha, Jermaine and, unwittingly, even some of the collectors of his paintings. In scenarios like this, it’s one thing to allow such circumstances to continue to impact ourselves, but it’s something else entirely to allow them to extend beyond us and affect others, whether intentionally or not.

Nonetheless, as Tarrell assesses all of these notions and puts them into place, he may well be in store for some unanticipated (and unexpectedly pleasant) surprises. While he might able to successfully envision some of the outcomes that await him, there may be more looming in the wings than he can possibly imagine, at least at the outset. In reaching this point, for example, he’s already experienced a tremendous creative breakthrough, but, by continuing to carry forward with this process, these developments may be only the tip of a much larger and far more significant iceberg, one that might impact him tremendously both personally and professionally. Such a result may not be apparent to Tarrell (or any of us, for that matter) when we embark on the process of forgiveness. But engaging in it might ultimately unlock doors that could easily and handily exceed our expectations, and all it might take to make this possible is a shift in our beliefs. That’s quite a bargain if you ask me.

Art imitates life (and vice versa) in the creative debut feature from director Titus Kaphar, “Exhibiting Forgiveness,” available for streaming online. Photo courtesy of Roadside Attractions.

No matter what anyone might say, and regardless of how virtuous its intent and impact may be, extending forgiveness to another is nevertheless often difficult. Yet, despite the pain, resentment and disappointment that can get in the way, a change in attitude and the beliefs that underlie it can work wonders. That’s what writer-director Titus Kaphar’s debut feature seeks to impart, a story drawn in part from his own experience and featuring paintings created by the filmmaker himself. Through this story, the act of forgiveness is explored from myriad angles, unflinchingly depicting the difficulty involved in achieving it and the rewards that can come from it. This is all effectively brought to life through an artistically beautiful, gorgeously photographed production, backed by an emotive and engaging soundtrack. Admittedly, the pacing could use a little shoring up in spots, and the emotional depth that seemingly should have infused the writing for certain scenes doesn’t quite reach the peak that it could have, but those drawbacks are well camouflaged by the fine performances of the ensemble, especially Holland and Ellis-Taylor, who deliver some of the best work of their careers. Most importantly, though, “Exhibiting Forgiveness” is definitely a movie with a powerful message, and it makes no effort to conceal it. It drives home its point with forcefulness and clarity, as well as fearless, unapologetic candor, successfully avoiding the pitfall of sugarcoating, soft peddling or sanitizing how challenging a process extending forgiveness can be. We could all learn a lot from that – and, considering the state of affairs in our world these days, it would behoove us if we did. This 2024 Sundance Film Festival Grand Jury Prize nominee for drama is available for streaming online.

It can be hard to let go of the pain when we feel we’ve been wronged by someone, particularly repeatedly. Some would contend that we’re justified in holding on to such feelings, an argument that some would say has genuine merit. But there’s a big difference between setting healthy boundaries and erecting an impenetrable wall, and forgiveness can play a valuable role in mediating how we perceive that distinction. To accomplish that, though, we must often get out of our own way, especially where our beliefs about forgiveness are concerned. That can take some doing, as well as some deliberate, profound soul-searching. In the end, though, the effort can be worth it, both for those who caused us pain – and those of us who have had to endure it.

A complete review is available by clicking here.

Copyright © 2024-2025, by Brent Marchant. All rights reserved.