CONSCIOUS CINEMA
As conscious beings imbued with free will, we innately possess the ability to select which probabilities we experience. This power to choose our destiny is a birthright, one of the qualities that make us
intrinsically human. It’s a precious gift to be cherished, used judiciously and never taken for granted.
What’s more, it’s always available to us, whether or
not we opt to exercise it, a circumstance that effectively renders expressions like “I had no choice in
the matter” to the trash heap of flimsy excuses.
In a conscious creation/law of attraction context,
choice is most crucial when it comes to the beliefs
we embrace, for they provide the juice that make the
process work. And the beliefs we choose are fueled
to a great degree by the intent backing them. Intent
helps frame and/or nuance the beliefs we employ
in the manifestation process, giving them the color
and character that shape the forms of the outcomes
that eventually spring forth from them.
a variety of movie genres and narratives. One of
the most fundamental choice-related questions
we face is what to do when assessing multiple options, a conundrum posed to a fiercely independent
young woman in “Far From the Madding Crowd”
(2015). When the wealthy mistress of a 19th Century English estate (Carey Mulligan) must address
the advances of a trio of would-be suitors (Michael
Sheen, Matthias Schoenaerts, Tom Sturridge), she
finds her power of choice to be a valuable ally in
making a decision, as well as in balancing her desires for independence and companionship.
Considering the power associated with our beliefs
and intents, it’s important that we make use of it
carefully. In light of that, it’s something about which
we could likely benefit from some inspiration. And,
as in so many other ways, this is where the examples set in film can prove so incredibly valuable.
Using the power of choice to deliberately exercise our independence also comes in handy
when pressed by others to conform. This theme
is revealed in several films, such as the quirky domestic comedy, “Housekeeping” (1987). When a
free-spirited woman full of wanderlust (Christine
Lahti) is asked to settle down and care for her two
orphaned nieces (Sara Walker, Andrea Burchill) in
a small Northwestern town in the 1950s, the temptation to eschew expectations and live her own
life proves quite strong. But, given her obligations,
what is she to do? Under these circumstances,