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She and Karl are not getting along with each other and haven't shared their feelings of loss, anger, and despair. Droplaug has kept his room just as it was and is troubled by nightmares and the need to wash his blood off her hands. Twelve years later, the family still has not come to terms with the trauma of Baldur's death their grief is palpable.
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Karl does not know how to deal with his emotions and secretly blames himself for not taking better care of the old tractor. On the way to the hospital, Droplaug is deeply traumatized as she clutches Baldur's dead body to her chest. When their teenage son Baldur is critically injured in a tractor accident, their 12-year-old daughter Hera is the first to see his mangled body. Karl (Ingvar Egggert Sigurosson) and Droplaug (Halldora Geirharosdottir) live on a small dairy farm in Iceland. The film Metalhead shows how this kind of sabbath can grow into something like love and forgiveness, with help from metal music, itself a sacrament for that sabbath. Jesus is not above the world Jesus is in the world, in the thickness of experience, happy and sad, Jesus, too, understands a black sabbath. Deeply rooted in me is a desire to search for the liminal space where the divine can still be found outside of where authority says it should be.Ĭhristians see the metallic side of God in the image of Jesus sitting with outsiders. To put it in more theological terms, metal is the aural representation of my spiritual need to transgress traditional boundaries, not just of music, but of general social expectation. But Partridge talking about heavy, intense music as inherently transgressive has helped me to frame the attraction I feel to metal as something that speaks to me. I don’t think of myself as someone who’s angry or misanthropic on the contrary, I’d say I’m a generally positive person. It seems I am a seeker of transgression on some level, if I listen to so much of it. The metallic side of God is two things: it is the love of God as God shares in the dark experiences and it is also the darkness itself as, in Sam Coker's words, as it reveals a space that transcends conventional and often oppressive norms. Coker puts it this way: If, like Hera, we sit in darkness, God sits with us in our darkness in an understanding way, and God is present within us as an inwardly felt lure toward whatever creative transformation is possible for us. This has implications for the 12 year old Hera, featured in the film, who turns to heavy metal music. Process theologians conceive of this openness in affective terms they say that the very unity of the universe, God, is a fellow sufferer who understands and who "feels the feelings" of all living beings with "tender care that nothing be lost." Those of us shaped by open and relational theology imagine God as open to the entire world of experience.
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Most people just couldn't handle what he was saying. That's the reason they nailed him to the cross. Jesus wasn't afraid of sitting with the outcasts. As the priest puts it in the film " God can also be found in the dark. Sometimes, after a tragedy, the only way we can find our way into something loving and forgiving is to immerse ourselves a darker side of life. It’s cathartic it's rebellious it takes you into the transgressive spiritual spaces and, so we learn in the film Metalhead, it can be redemptive. Metalheads listen to metal for different reasons.