In a heartbeat12/30/2023 ![]() ![]() He “knows the secrets of the heart” (Psalm 44:21 see also 1 Corinthians 14:25). ![]() We may not understand our own hearts, but God does. Who can understand it?” In other words, the Fall has affected us at the deepest level our mind, emotions and desires have been tainted by sin-and we are blind to just how pervasive the problem is. Jeremiah 17:9 says, “The heart is deceitful above all things and beyond cure. The human heart, in its natural condition, is evil, treacherous and deceitful. And God blesses His people with leaders who know and follow His heart (1 Samuel 2:35 Jeremiah 3:15). David was a man “after God’s own heart” (Acts 13:22). In essence, this is what it says: the heart is that spiritual part of us where our emotions and desires dwell.īefore we look at the human heart, we’ll mention that, since God has emotions and desires, He, too, can be said to have a “heart.” We have a heart because God does. The Bible mentions the heart almost 1,000 times. Instead, we’ll focus on what the Bible has to say about the heart. Neither is this article concerned with romantic, philosophical, or literary definitions. Indeed, In a Heartbeat's aesthetic resembles Disney's predominately heteronormative CGI-animated fairy tales and children's stories.First, we’ll state the obvious: this article is not about the heart as a vital organ, a muscle that pumps blood throughout the body. In a recent interview with the New York Times, Esteban Bravo, one half of the duo that created the film (his co-filmmaker was fellow art student Beth David), said, "We just hope that this helps to change, or begin changing, what people think about people in this community and try to understand them better." Animation, of course, isn't just a genre that can make a heart believably run away onscreen it also conjures disarmingly familiar children's films. It's also just a really fun, and widely appealing, short story. Here, his heart has to force Sherwin to reveal his true feelings and it pulls into focus the potential rewards in being forthright with one's feelings in spite of outside obstacles. By zooming in on queer emotional internal conflict, the film pushes back against the homophobic line of reasoning that suggests that queer love is unnatural-that it has nothing to do with the heart. The film, via this core conceit, offers a poignant expression of the quiet anxieties that characterize a budding gay crush-the he-loves me/he-loves-me-not debate. In a film that has no dialogue, the actions and expressions of Sherwin's heart telegraph a thrilling emotional arc-viewers perceive Sherwin's misfortune and unhappiness even when he doesn't say a word.Īnimation, in this particular case, allows for the admittedly absurd anthropomorphized heart to come across as insightful, even pointedly progressive. Here, though, the film manages to reinvigorate the cultural position of this muscular lump of an organ, re-imbuing it with the humanity that the overuse of romantic clichés has slowly worn away. The heart has long held a crowning position in human emotional and psychological thought indeed, throughout much of history, "the heart was the seat of what made humans human," as cultural historian Fay Bound Alberti writes in her cultural history of the human body This Mortal Coil: The Human Body in History and Culture. In a Heartbeat is, in its own small way, a masterful piece of subversive storytelling. Jonathan, it turns out, likes Sherwin, too, and their two hearts, literally, become one. Jonathan finds a distraught Sherwin sitting under a tree and returns the other half of the boy's heart. Sherwin, embarrassed, pulls away, breaking his heart in two. Their reunion is immediately awkward: Students stare in disgust at the prospect that one boy's heart could yearn for another's. Sherwin's heart eventually chases down Jonathan, as Sherwin chases the heart, bringing the two boys together. The film then follows a rom-com-like trajectory.
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