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I think the biggest question that a lot of Christians is how do you reconcile the desire to show compassion to immigrants with the desire to follow the rule of law?What we seeing is that it shouldn be necessarily either or, but that there is a middle ground that we can take. For a lot of Christians there is nothing illegal you can do when showing compassion and really welcoming immigrants into your communities, but our government also has a responsibility to create good laws and when laws are not working for the common good they have to be changed.Ray Suarez: One of the most uniformly evangelical parts of the country is the southeast quarter of the United States, which also was the place where the least immigrants went, historically.But now, Alabama, Georgia, North and South Carolina are filling up with immigrant communities, hiring English as a second language teachers for the first time in their history. Is that more than coincidence that maybe people in this part of the country are also now that they know people that are in this fix, they may take a different view of the law?Jenny Hwang: I think that part of the reason why so many people feel so strongly about this now in support of reform, is that they not just talking about an issue that foreign to them, it actually about the person that they worshipping together with on a Sunday.It about the person that they play soccer with, or kids that they know in their communities that are actually real leaders, but can go further in their education because they here undocumented.

Pollack and Jeffrey A. Bader Reach Out to Cuba by Ted Piccone Avert Conflict in the South and East China Seas by Richard C. Bush III, Bruce Jones and Jonathan D. Ci sono film che effettivamente favoriscono l’anamnesi e l’autoanalisi, emergendo i fantasmi o i passeggeri oscuri che ci portiamo dentro. Non sconfiggono malattie e nemmeno combattono le patologie, eppure questi film curano, raccontando storie di cura anche quando non è proprio possibile curare, guarire. Still Alice, scritto e diretto da Richard Glatzer e Wash Westmoreland, compagni nell’arte e nella vita, appartiene al ‘genere terapeutico’ e fornisce allo spettatore una spiegazione e un’argomentazione emozionale del morbo di Alzheimer, una malattia che comporta il progressivo declino delle facoltà cognitive.

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