The Cultural and Theological Layers of "Heretic" and Latter-day Saint Representation
The A24 horror film Heretic offers a unique and thought-provoking portrayal of Latter-day Saints, positioning itself as a significant step forward in the representation of the religion's adherents in mainstream cinema. For those who haven't seen the film, spoilers are ahead.
Historically, the portrayal of Latter-day Saints in popular culture has often been reductive and stereotypical. Either they are depicted as naive and overly-optimistic individuals who are out of touch with modern life (we're looking at you, South Park and The Book of Mormon), or they are cast as dangerous and oppressive figures, like the bearded polygamist in former times or Hulu true-crime antagonists in modern times.
In Latter-day Saint culture, the saints tend to sanitize themselves into idealized caricatures: genius scientists or billionaire entrepreneurs with no moral imperfections who embody the pinnacle of virtue and success. Each of these stereotypes, both Mormon and non-Mormon, fails to capture the complexity of real people within the faith, who are often just ordinary individuals navigating their daily lives.
Heretic stands out because it complicates these stereotypes, offering a more nuanced depiction of its characters' faith, struggles, and personal growth. In the film, the characters of Sister Barnes and Sister Paxton are central to this exploration of Mormon identity. Sister Barnes embodies the more idealized, naive version of a Latter-day Saint: she is saccharine, blindly obedient and submissive to authority, and exhibits an uncritical adherence to her faith. She is the personification of the “golly gee willikers” stereotype—sincere but often naive and shallow in her understanding of the complexities of life and faith.
On the other hand, Sister Paxton, a convert to the Church, represents a more nuanced and thoughtful approach to being a Latter-day Saint. She grapples with doubt, questions authority, and engages critically with her beliefs. Sister Paxton is portrayed as thoughtful, capable, and kind-hearted, a figure that many Latter-day Saints actually admire or aspire to be like in real life. However, the film subverts audience expectations when, in a shocking twist, Sister Barnes is killed off halfway through the film. This choice not only disrupts the traditional narrative but also forces Sister Paxton to confront her own shortcomings and grow in unexpected ways.
The death of Sister Barnes is a pivotal moment in Heretic, as it forces Sister Paxton into a position where she can no longer rely on others for guidance or support. Instead, she must navigate her beliefs on her own through the crucible of doubt. This shift in the narrative is significant because it deconstructs the overly simplistic portrayal of Sister Paxton as merely a naive character and reveals her deeper complexities. The film cleverly positions Sister Paxton’s personal transformation as a result of her internal struggle, as she begins to question the authenticity of her faith and what it means to truly believe. In doing so, Heretic challenges the audience’s assumptions about Latter-day Saints, revealing that the journey of faith is neither straightforward nor predictable – even for Mormons.
One of the film's most striking elements is how it portrays the tension between faith and doubt. This thematic exploration is particularly relevant to Latter-day Saint theology, which emphasizes the importance of paradox, or opposition in all things: study and faith, religion and reason, justice and mercy, consecration and commerce.
Faith, according to Latter-day Saint theology, is not merely a blind adherence to doctrine but a principle of action and power, requiring individuals to navigate uncertainty in the face of paradox. The film subtly interrogates this dynamic, especially through the relationship between the characters of Sister Paxton and Sister Barnes. The tension between these two characters mirrors the internal tension that many Latter-day Saints feel as they navigate their own beliefs, particularly when confronted with contradictions or uncertainties within their faith.
The theological themes explored in Heretic are further complicated by a key scene early in the film, in which Sister Paxton and Sister Barnes discuss the taboo subject of pornography. This conversation is awkward, uncomfortable, and filled with unspoken assumptions, but it reveals the internal conflict that many Latter-day Saints experience when grappling with complex or controversial issues. The scene highlights the deep sense of fear and uncertainty that can accompany discussing such issues within a religious community. Sister Paxton’s reluctance to engage honestly with the conversation—despite her clear knowledge of the topic—reflects her internal struggle and the broader tension between personal faith and institutional expectations. This moment sets the stage for Sister Paxton’s eventual growth, revealing her hidden strengths and potential as grappling with the broader questions of faith, identity, and personal agency becomes crucial for her survival.
Ultimately, Heretic explores the theme of faith in a way that resonates deeply with Latter-day Saint teachings. The film delves into the paradoxical nature of belief, showing that faith is not a binary choice between certainty and doubt but a complex and ongoing process of growth and reflection (otherwise known as "repentance" in Latter-day Saint parlance). It asks whether the miraculous events that unfold in the film are the result of divine intervention or simply grit and determination. This ambiguity mirrors the faith journey many Latter-day Saints experience, where moments of divine inspiration are often intertwined with human effort. The film’s conclusion challenges the audience to wrestle with these questions, leaving them with the same choice that every Latter-day Saint must face: to act in faith, even when the answers are unclear.
One thing I found particularly striking was that Sister Paxton's choice comes as her back is literally up against a wall, with no way to escape. This mirrors the teaching of President Ezra Taft Benson who said, "Every man eventually is backed up to the wall of faith, and there he must make his stand." Through this exploration, Heretic offers a powerful and empathetic portrayal of Mormonism, highlighting the beauty of faith in all its complexity.
In conclusion, Heretic succeeds in offering a multi-layered depiction of Latter-day Saint characters and theology, breaking free from the constraints of stereotypical portrayals in both mainstream cinema and Mormon-specific media. By presenting two complex characters in Sister Barnes and Sister Paxton, the film navigates the spectrum of Mormon identity, interrogating the tension between blind adherence and thoughtful faith.
It is important to note that McKay Coppins of The Atlantic brought up an important cultural point in his review, where he said:
What does it say about Mormon media representation that the most sympathetic portrayal in recent memory involves missionaries getting violently tortured by a lunatic?
While broader culture definitely has a way to go in the way it treats Mormons in art, the sympathetic portrayal in this film is a huge step in the right direction. Through its exploration of faith, doubt, and personal growth, Heretic captures the essence of Latter-day Saint belief, offering a depiction that is both relatable and insightful. It asks difficult questions about what it means to believe, while also acknowledging the messiness and imperfection of the human experience. As such, the film stands as a powerful contribution to Latter-day Saint representation in modern cinema.
About the Author
Once a mighty warrior in the pre-existence, Gazelem retired and came to earth to get a body and explore the arts. Outside of Latter-day Saint art and literature, you can find him writing and editing for ProvoMusicMagazine.com
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