The film tracks the movement of apocalyptic Christian nationalism from the margins of American society to its current presence in the mainstream of public discourse and policy. I began making Silhouette City because, in late 2001, I began to hear echoes of the Christian extremism from my childhood in Arkansas. In order to quiet the ringing in my ears, I immersed myself in the contemporary Christian right – the media, music, ministries, books, personalities and organizational apparatuses. Those familiar with the excesses of the movement (and their opponents) can be excused for collectively yawning in the face of yet another seemingly alarmist diatribe on the subject of crusading religionists, but apocalyptic Christian nationalism doesn’t simply lose its adherents because the media narrative has shifted. As the economy continues to slide, the energy crisis becomes palpable and the occupation of Iraq appears indefinite, the potential grows for a major disruption of daily life. A significant percentage of the population (1) sees these looming crises through a specific lens: a belief that humanity is waging the opening skirmishes of a cosmic war between Good and Evil that will usher in the Kingdom of God.

Michael W. Wilson Producer Silhouette City

via: Talk2Action