The document was seen as most likely the final word since limbo was never part of Church doctrine, even though it was taught to Catholics well into the 20th century. The verdict that limbo could now rest in peace had been expected for years. Pope Benedict, himself a top theologian who before his election in 2005 expressed doubts about limbo, authorized the publication of the document, called “The Hope of Salvation for Infants Who Die Without Being Baptised”. The 41-page document was published on Friday by Origins, the documentary service of the U.S.-based Catholic News Service, which is part of the U.S. In a long-awaited document, the Church’s International Theological Commission said limbo reflected an “unduly restrictive view of salvation”. The Pope authorized the publication of a document that has effectively buried the concept of limbo, the place where centuries of tradition and teaching held that babies who die without baptism went. At home, Farhad had a chicken he loved, named after Mercury in his desolate, temporary Scottish home, he adopts another, also named Freddie, who, to the consternation of the others, becomes a fifth roommate.Pope Benedict XVI waves as he arrives to lead his weekly general audience in Saint Peter's square at the Vatican April 18, 2007. He tells Omar about his hero, Freddie Mercury, whose picture he carries with him always: He and Freddie have the same mustache, he points out, and the same religion, Zoroastrianism. (In one of their early encounters, Omar asks Farhad how, in his home country, it’s possible to tell what women are thinking if their faces are covered, a way of reinforcing the point that their two countries are hardly the same.) Farhad is resourceful, enterprising and sensitive: He scrounges things he needs-and some things he doesn’t, like a hat designed to look like a panda face-from the local donation center. But Omar becomes closest with Farhad (Vikash Bhai), who’s from Afghanistan. Omar, handsome but sullen, with soft, brooding eyes, has three roommates: Abedi (Kwabena Ansah) and Wasef (Ola Orebiyi) are from Ghana and Nigeria respectively, though they have presented themselves as brothers, hoping to strengthen their chances of getting asylum-a gentle metaphor for the way two people desperate to find a better life can become a kind of family. Even so, one anxiety unifies them: no one wants to, or can afford to, be sent back. But they’re also outsiders to one another, a group of lost souls coming from a jumble of different cultures and backgrounds. To the islanders, all of the men are outsiders, strangers from other lands. Limbo definition: The abode of unbaptized but innocent or righteous souls, as those of infants or virtuous individuals who lived before the coming of Christ. Some of the locals do welcome them with well-meaning but misguided enthusiasm (by offering, for instance, a clumsy “cultural awareness” course that’s designed to indoctrinate the newcomers to western ways but succeeds only in bewildering them), while others, particularly the local teenagers, inflict indifferent hostility. Their housing, a nest of nondescript little cottages, bears a handmade sign that reads REFUGEES WELCOME with a heart appended. Limbo, the second feature from Scottish director Ben Sharrock, is about people who happen to be refugees, a group of young men from various nations who have been given temporary shelter on a remote Scottish island as they wait to see if they’ve been granted asylum. Though some filmmakers might insist you can make a film about a hot-button issue like the refugee crisis, in the end you can only make films about people.
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