The Theology of Mel's Passion

In a fascinating Zenit article, Romanus Cessario argues that Mel Gibson was working from a set of very technical theological assumptions when he made certain aesthetic decisions during the making of his blockbuster film, The Passion of the Christ. Cessario, a Dominican Monk who teaches at St. John's Catholic Seminary, Brighton, Massachusetts, makes the case that the director's presuppositional Thomism colors virtually every aspect of the epic portrayal of Christ's suffering and sacrifice. Very helpful insights.