Författare: Jane Barnwell Reader in Contemporary Media Practice Universi

Christmas Eve in Miller’s Point welcomes viewers into the Balsano family’s annual festive gathering. Four generations of the Italian-American family descend on the home of the elderly matriarch Antonia (Mary Reistetter) in Long Island, in New York state, where eating, drinking and general merriment ensues.

As the night goes on it becomes apparent that this may be their last Christmas together in the family home. As the adults immerse themselves in festivities, teenagers Emily (Matilda Fleming) and Michelle (Francesca Scorsese) secretly break out of the house to hang out with their friends.

Writer-director Tyler Taormina captures the cacophony of family gatherings in some beautifully observed and poignant moments. The ensemble cast (Michael Cera, Elsie Fisher, Maria Dizzia, Ben Shenkman, Gregg Turkington and Sawyer Spielberg) create a layered and tender family drama.

The meandering narrative drifts around universal family issues, from elderly relatives to teenage angst, but the majority of the film takes place in the home.

The trailer for Christmas Eve in Miller’s Point.

Festive classics including A Christmas Carol, Home Alone, It’s A Wonderful Life, Die Hard, Miracle on 34th Street and Elf, all consider the home to be pivotal. Christmas films often feature a return home as an essential part of narrative closure.

The quest for home is a popular cinematic theme all year round. But it’s particularly poignant at Christmas when there is a universal, relatable pull to return.

In many Christmas films the stakes (and drama) are raised by making the return home a difficult enterprise. But in Christmas Eve in Miller’s Point, the stakes are not raised in this fashion, in spite of the the film beginning with the dedication: “For the lost. May they find their way home on Christmas Eve.”

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The houses of our childhood resonate through our lives. In 1957, the French philosopher Gaston Bachelard wrote that our house is “our corner of the world … our first universe”.

The desire to return home can represent many things in film, from belonging to identity and a yearning for community. The home can be seen to embody family values – a fantasy of stability in a transient world. But the home can also be a prison, catalyst or gateway.

In Home Alone (1990) the home becomes a weapon to deter burglars. The house swap in The Holiday (2006) enables both characters to move past life obstacles. And the “drafty old house” in It’s A Wonderful Life (1946) is a prize to be cherished.

The ‘drafty old house’ of It’s a Wonderful Life.

Christmas movies often connect with the viewer’s nostalgic wish to return to a Christmas past that creates an imagined community. We are drawn to these films as they contain enduring truths that resonate with our lives and offer a metaphorical return home.

This can be seen in Christmas Eve in Miller’s Point. The nostalgia of the family’s past is revelled in with stories, songs and old home movie footage. This is further supported by the soundtrack, which features a haunting Amtrak horn and classic tunes that underscore the sense of a universally shared pop cultural past.

As law professor Margaret Davies once put it: “It is impossible to leave home because the home is not only our physical location … but also our interior architecture, our own psychology, home is in this sense who we are”.

This atmospheric film captures a slice of suburban America which feels eerily transient. It is a nostalgic Christmas movie, but it is also an impressionistic portrait of a universal home. Läs mer…

The little bear with a taste for marmalade sandwiches is back on the big screen, this time embarking on an adventure back to his South American homeland of Peru and, ultimately, to himself.

Paddington in Peru kicks off with the bear (Ben Wishaw) receiving a British passport marking his new national identity. When Paddington visits his good friend Mr Gruber’s (Jim Broadbent) antique shop and sees a small Peruvian ornament appear to come to life, Gruber suggests that becoming British can come with mixed emotions.

Such emotions are heightened when Paddington receives a letter from his Aunt Lucy saying that she is quite troubled and melancholy in the retired home for bears she lives in. This inspires a trip to Peru with his adopted family, the Browns.

If you know Paddington, a simple visit home was never on the cards. The family arrive to find Aunt Lucy is now missing. The Browns set off into the jungle in search of her with the help of riverboat captain Hunter Cabot (Antonio Banderas) and his daughter Gina (Carla Tous). The adventure ultimately turns out to be a quest for home as Paddington discovers his origin story.

This sort of quest is a key feature of the Paddington stories. The Paddington films can be understood as an example of outsider narrative, with the little bear having migrated from Peru and made London his home. The film contains messages of tolerance towards difference and diversity, particularly in that Paddington’s differences (he is a talking bear after all) are often foregrounded as strengths.

What can Paddington Bear’s citizenship journey teach our leaders?
Join The Conversation UK and migration experts in London on November 16 for a screening of Paddington in Peru and a discussion on migration, citizenship and belonging.
Click here for more information and tickets.

The Paddington books were written by Michael Bond in the 1950s. They echo the real experience of migrants who were invited to make the UK their home but on arrival recieved a mixed reception, much like the Windrush generation who were some of the first West Indians to migrate to the UK in 1948.

Released in 2014, the first film began with Paddington’s arrival in London. After a shaky start, he was welcomed into the Browns’ family home, creating a positive allegory of migration and interracial harmony. This was reaffirmed in Paddington 2 (2017) where he writes to Aunt Lucy: “You sent me to London to find a home and it’s worked out beautifully.”

The importance of family is central to the films and Paddington in Peru is no exception. Mr Brown (Hugh Bonneville) is encouraged to “embrace risk” by his new boss, while Mrs Brown (Emily Mortimer) misses spending more time with her children, Jonathan (Samuel Joslin) and Judy (Madeline Harris), who are now busy teens. The empty family sofa becomes emblematic of the soon to be empty nest. Making the family trip to Peru the perfect opportunity to reconnect.

In Paddington in Peru, however, the home becomes a much more complex concept. While things may have “worked out beautifully”, that doesn’t negate all Paddington was and had back in in his homeland.

The hero’s quest to return is a fundamental mythic narrative. As film scholar Susan Mackey Kallis states, the quest involves the hero finding themselves and a home in the universe. The hero’s quest is a double quest that often demands a journey home not only to the place from whence the hero departed, but to a state of being or consciousness that was within the hero’s heart all along.

Paddington in Peru fits this narrative pattern, as the bear goes on an emotional journey to discover his lost heritage and reconnect with his adopted family, learning more about himself in the process. It’s a classic addition to the Paddington universe, a great fun film for all the family filled with loving homages to the bear’s history.

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