Abstract
Christian theology distinguishes between cardinal virtues and theological virtues. Hope (spes) is one of the three theological virtues, along with faith (fidei) and love (caritas). Contrary to cardinal virtues, theological virtues are not humanly acquired, but divinely infused. This article considers the representation of the theological virtue of hope in contemporary cinema. It argues that the theological virtue of hope is represented in film through its placement in the daily existence of film characters. This is a way for hope to become a virtue that allows human life to partake in divine life. Yet this raises a generic question: what links exist between a virtue and a place? More specifically: what connections does cinema explore between the virtue of hope and places or spaces? I develop this reflection through the analysis of two films with significant differences: Silent Light (Stellet Licht, 2007), directed by Mexican Carlos Reygadas, with strong religious references, and the more secular Fire at Sea (Fuocoammare, 2016), directed by Italian Gianfranco Rosi.
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