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SIGHT (Christian Movie Review)

About the Film 

The extraordinary success of The Chosen and The Sound of Freedom (2023) may have put Angel Studios on the Hollywood map, but it is the company’s reputation for quality and meaningful stories that continues to draw audiences. Its latest film is no different. Sight is a competent medical drama that is elevated by its emotionally rich, character-driven exploration of grief and healing. The film won’t “wow” audiences with showstopping visuals like Cabrini or ignite viewers into action like The Sound of Freedom, but it is arguably Angel Studios’ most intimate, beautifully told story yet.     

With a few exceptions—such as Angel Studios’ uneven foray into sci-fi with The Shift (2023)—recent faith-based films have largely adhered to a template of telling inspirational, true-life dramas of admirable Christian figures (Unsung Hero, Cabrini, Sound of Freedom, Ordinary Angels, Jesus Revolution, etc.). That narrow approach may eventually grow stale, but Sight keeps things fresh by utilizing a non-linear storytelling approach. Roughly half the runtime is allotted to flashback sequences of esteemed eye surgeon Ming Wang’s difficult upbringing in China and his eventual immigration to America.   

Although thematically and narratively intertwined, the two timelines operate almost as two parallel films: a contemporary medical drama and a historical period piece. Carrying the first of those storylines, actor Terry Chan is solid in the lead role as adult Ming Wang, even if his performance lacks magnetism. He is joined by Greg Kinnear, who, despite being prominently featured in the film’s marketing as an Academy Award nominee, doesn’t make much of an impression in his limited role. While not without several standout scenes, the present-day material is the weaker and less inspired timeline. It’s not bad, but it isn’t always gripping or cinematic (perhaps because we’ve largely come to associate medical dramas with television).   

Where Sight truly shines is in the flashback portions set in China, during which everything—the acting, cinematography, story, music—comes together in perfect harmony. Earlier I noted that the visuals don’t necessarily “wow” like Cabrini, but Sight is still a great-looking film.  

Sight also benefits from restrained pacing. Some viewers may find the story slow or void of action, but director Andrew Hyatt (The Blind and Paul, Apostle of Christ) demonstrates a commendable willingness to let the story breathe. Sight resists the mechanical pragmatism of many other faith-based films, instead allowing for some refreshing meditative pauses. Scenes portraying characters enjoying the beach or playing a musical instrument effectively communicate the film’s underlying themes that life is about experiencing both beauty and ugliness, peace and turmoil, joy and sorrow.      

Sight is a faith-based film, although the boundaries of the genre have become broader in recent years. The film’s use of faith elements lands somewhere in the middle of the Goldilocks scale between the heavy-handed messaging of yesteryear and the more recent trend of burying faith elements in subtlety. The “just right” amount differs for each viewer, but Sight strikes a good balance.   

The movie doesn’t shy away from faith. Several characters speak freely about God and miracles, and a pivotal scene is set inside a church. Yet the film doesn’t offer a comprehensive “ABCs of becoming a Christian.” Instead, Sight shows how Wang overcomes his grief and unshackles himself from regrets so that he can move forward. The movie ultimately attributes Ming’s healing to God, though not explicitly (it is not until an end credits message from the real Ming Wang that he confirms that he has indeed found faith).   

I wasn’t sure what to expect from this film. Angel Studios has earned the benefit of the doubt, but at first glance Sight appeared to lack the hooks or spectacle necessary to stand out in the increasingly crowded field of faith-based movies. It won me over with its unassuming story that doesn’t revert to attention-seeking gimmicks or manipulative emotional tactics. Sight is greater than the sum of its parts. While it may not be the “best” faith-based film in recent years, it may be the one I’ve appreciated the most.   

On the Surface

For Consideration

Beneath The Surface

Engage The Film

Seeing Beyond Our Pain     

What does it mean to see? Jesus said, “Though seeing, they do not see” (Matthew 13:13). In other words, even people with healthy physical eyes may fail to see the true light. Sight is a simple but fitting title for this movie. On the surface, it tells the story of a doctor seeking to cure physical blindness. Beneath the surface, it is about learning to see through past regrets to embrace God’s goodness in the present.   

Ming Wang is haunted by visions of a childhood friend he couldn’t protect or bring to America as he promised. Despite being a successful surgeon, he is broken inside. His inability to cure a blind young girl’s eyes strikes the raw nerve of his festering guilt.    

He confesses to a bartender that there are things in his past that he cannot get over. She responds, “Who says you have to get over them?” There is a repeated refrain in the film that “the present is made possible by the past.” Sight is about honoring the past even while choosing to live in the present. The past is important, but old pains shouldn’t define us or prevent us from future blessings.    

When speaking about a blind young girl, a nun says that she has “moved beyond the tragedy of her past and embraces the present with happiness, and joy, and love.” The girl’s testimony becomes the catalyst for Ming Wang to do the same. 


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