The story of Jesus has become so familiar to us that we sometimes fail to grasp just how shocking, disturbing, or ultimately motivating it really is. Even films designed to take us back to first-century Judea can tend to come across as soothing or reassuring, which hardly matches how the apostles would have experienced those events. Sometimes it takes a radical reimagining to get us to really think about the implications of that story, and how it might be applied to our present-day reality. And one of the most interesting such reimaginings — certainly in recent years — is Son of Man, a South African production that depicts Jesus as a political activist working in a war-torn modern African country.
Like most independent foreign films, Son of Man has kept a relatively low profile — it didn’t even come out on DVD on this continent until four years after it premiered at the Sundance festival in 2006 — but it can now be streamed on Netflix in the U.S., and it has attracted a fair bit of attention in some circles. The conversation surrounding the film is now further illuminated by Son of Man: An African Jesus Film, a collection of 16 essays that look at the film within the contexts of African culture and the Jesus-film tradition as a whole.