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anchoring us in reality while pushing at the existential boundaries. This is precise- ly what Carruth’s post-secular parables accomplish: through the blending of realist and formalist cinematic styles in science fiction rooted in physical science (Primer) and haptic spirituality (Upstream Color), audiences encounter what Richard Kear- ney calls epiphanies, “the consecration of ordinary moments of flesh and blood this- ness as something strange and enduring”, a “transfiguring instant” which “happens in the gaps, in the breaks of linear temporality when an eternal now […] explodes the continuum of history”.58 Indeed, akin to Andrei Tarkovsky’s own sci-fi parable, Stalker (USSR 1979), Carruth’s epiphanic cinema is truly sculpting in time.59 Bibliography Agel, Henri, 1961, Le cinéma et le sacré, Paris: Les Editions du Cerf, 2nd ed. Andrew, Dudley, 1984, Concepts in Film Theory, Oxford: Oxford University Press. Augustine, 2006, [1942], Confessions, Sheed, F. J. (trans.), Indianapolis: Hackett Publishing, 2nd ed. Ayfre, Amédée, 2004, Un cinéma spritualiste, Paris: Cerf-Corlet. Baracco, Alberto, 2017, Hermeneutics of the Film World. A Ricoeurian Method for Film Interpretation, Cham, Switzerland: Palgrave Macmillan. Bergstrom, Anders, 2013, The Emergent Subjectivity of Upstream Color, 3BrothersFilm.com, 8 May 2013, https://3brothersfilm.com/blog/2013/05/emergent-subjectivity-of-upstream-color [accessed 22 No- vember 2017]. Biles, Jeremy, 2013, Upstream Color, Religious Studies Review, 39, 3, 164. Bradatan, Costica / Ungureanu, Camil (eds.), 2014, Religion in Contemporary European Cinema. The Post- secular Constellation, London: Routledge. Bradshaw, Peter, 2013, Upstream Color – Review, The Guardian, 29 August, https://www.theguardian. com/film/2013/aug/29/upstream-color-review [accessed 20 November 2017]. Brody, Richard, 2013, The Cautionary Rhapsody of Upstream Color, New Yorker, 5 April, https://www. newyorker.com/culture/richard-brody/the-cautionary-rhapsody-of-upstream-color [accessed 5 May 2019]. Chang, Justin, 2013, Film Review: Upstream Color, Variety, 21 January, http://variety.com/2013/film/mar- kets-festivals/upstream-color-1117949053/ [accessed 21 November 2017]. Crossan, John Dominic, 1980, Cliffs of Fall. Paradox and Polyvalence in the Parables of Jesus, New York: Seabury Press. D’Angelo, Mike, 2004, The Best Movie We’ve Seen Since Tomorrow, Esquire, 142, 5, 50–52. Dodd, C. H., 1935, The Parables of the Kingdom, London: Nisbet & Co. Fischer, Russ, 2013, /Film Interview: Upstream Color Creator Shane Carruth. Using Unique Ideas to Tell a Universal Story, 12 April, https://www.slashfilm.com/shane-carruth-interview-striving-for-the-one- thing-that-explains-all-other-things/ [accessed 5 May 2019]. Johnston, Robert K., 2014, Film as Parable. What Might This Mean?, The Covenant Quarterly 72, 3–4, 19–32. Johnston, Trevor, 2013, Upstream Color, TimeOut, 27 August, https://www.timeout.com/london/film/ upstream-colour [accessed 21 November 2017]. Kearney, Richard, 2011, Anatheism. Returning to God after God, New York: Columbia University Press. 58 Kearney 2011, 103. 59 Tarkovsky 1986. Parabolic Transcendence in Time and Narrative | 35www.jrfm.eu 2020, 6/1, 17–36