Easter movies: What to watch

These are both biblical films, (loosely) set around the Passion of Christ, the final period before the crucifixion of Jesus. Regardless of how extraordinary these films are, they ultimately revolve around death. Not just any death, but a public execution of a prophet. They also explore slavery, illness (leprosy) and deep-seated betrayal. Safe to say, this doesn’t exactly scream “family holiday fun time”.

Granted, Christmas films, like Love Actually, can be tear-jerkers, and Halloween flicks, like The Haunted Mansion (2003), can be spooky, especially for kids. But key to these movies is the happy ending. Easter films, many of which are biblical, teach a lesson rather than fill you with merriment or adrenaline. And let’s face it, many of us watch films during the holidays to switch off our brains, not to challenge it.

Religion vs entertainment

Biblical films must carefully walk a tightrope between respectfully representing religious doctrine and providing entertainment.

At the time of its release, Jesus Christ Superstar was criticised for denying the divinity of Christ and shining Judas (who famously betrayed Jesus to the Romans) in a sympathetic light. There was also outcry over the implied sexual tension between Jesus and Mary Magdalene, as well as the exclusion of Jesus’ resurrection and ascension to Heaven.

Perhaps even more controversial was Mel Gibson’s The Passion of the Christ (2004), which follows Jesus on his final day before crucifixion. It was a box office hit, grossing over $954 million worldwide; however, its use of violence was too gratuitous for some, while others argued it was antisemitic in positioning Jewish people as Jesus’ enemies (not helped by the fact that Gibson has himself used racial slurs and antisemitic remarks).

The Easter Bunny problem

Secular Easter films, such as Hop (2011) and Peter Rabbit (2018), have generally failed to win over audiences and consequently lack the nostalgia that Christmas films like The Santa Clause thrive on.

This is arguably down to the season’s mascot: the Easter Bunny. A humanoid talking rabbit sneaking into homes to fill kids’ pockets with chocolate? They say never accept candy from a stranger, let alone an alien creature. Admittedly, Santa sneaks into homes too, but at least he’s human.

Unlike Christmas and Halloween films, which place the season at the forefront, Easter films don’t tend to fixate on the holiday. For example, while watching Easter Parade (1948), a musical about a Broadway star trying to find a new dancing partner, it’s easy to forget it’s set during Easter while being swept up in song and dance. And in The Rise of the Guardians, which sees holiday figures like Santa, Jack Frost and the Easter Bunny join forces to battle against the evil Pitch, Hugh Jackman’s Bunny merely offers occasional comic relief.

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Other holiday films are easily identified by their decorations and distinct colour themes. As soon as you turn on Jack Carpenter’s Halloween, carved pumpkins greet you, and in The Polar Express, you’re welcomed into a cosy snow-covered world. Easter arguably has pastels and baby chick figurines, but this is tenuous given that could easily be mistaken for a baby shower or child’s birthday. Without its own “trademarked” aesthetic, Easter films could look like anything and therefore be watched at any time of the year.

Whether because it’s too heavy, too controversial, too unsettling, or simply undefined, Easter has not had people running to the cinemas. Perhaps a more well-rounded mascot and a slightly less earnest approach could have people trading in their hot cross buns for movie tickets.

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