Giulia Orsatti

What is a queer body in theological context? What can queer Eva do to free herself from the endless androcentric and patriarchal narratives? These questions can be answered by queer theologian Marcella Althaus-Reid:” Queer theology is the one who confesses distance from home without even knowing where home is for her, rejecting all representations of herself or her own representations of others that deny the reality of exile as a place to be. A theology that can only participate in the contiguous processes of representation of people in transit, nomadic subjects who follow their own deep desire for different forms of purity and holiness, and find grace especially in the lands inhabited by sexual exile.” Eve thus becomes here an uneven recomposition, embracing her figurative repetitions to the point of vacuity, through ecstasy, so it is not possible to direct oneself to the body without ruptures, discontinuities, inconsistencies, contradictions

The Atonement is a cinematic experience that depicts a lonely man faced with the failure of all consolation. Job is no longer the biblical patient, but a young, unkempt body that traverses bare and claustrophobic places as if they were psychic thresholds. Each environment is a fragment of consciousness that is consumed, a remnant of faith that has survived the collapse of all theodicy. In the film, the protagonist, realizes that no justice will come from above, nor from the community, nor from a shared moral order. If guilt cannot be redeemed, then it must be paid for. The Atonement becomes a self-imposed gesture, not a ritual expiation, but a real act of flesh and blood, of presumed justice inflicted on the world and on God in a desperate attempt to restore balance to the world when all is silent.