Article
Creed
Redemption
4 min read

Discover the kindness of a Blue Monday snowfall

Waking to a new world, Henna Cundill considers the transformation of more than just the view.
Two small chidlren push a curtain aside to stare out the window at snow.

“Blue Monday” in Aberdeenshire (the third Monday in January) turned out to be a “white Monday” in the end. The snow began on Sunday evening, and it continued on and off throughout the night. It was accompanied by an atmospheric howling wind, which woke me up from time to time. At each waking I peeped through the window to see the world gradually disappear under a thick white blanket.  

Monday morning was a liminal place – all of us dressed for work and school but drifting about the house as if it were still the weekend. We live next to a busy road, but there were few cars and what traffic noise there was had become strangely muted. None of us could settle to anything, we simply alternated peering out of the windows with checking online for news about school. Then came the announcement that school would open at 10am (there’s little that really stops for snow in Aberdeenshire) so on went the wellies and the woollies and off we went down the front path, both excited and a little awed to sully the unbroken blanket of white with those first few footprints. 

Snow suspends the rule that we have to be standoffish and dour, even in Scotland. 

But as we walked, we noticed that our footprints weren’t at all the first. Tiny scratch marks testified that the sparrows, the robin, and the blackbirds had long been out and about, busy with their day’s travail. A slinky line of pawprints revealed the neighbour’s cat had paid us a visit too. All around our house, countless tiny stories of industry and encounter had already been told – (some sliding pawmarks and a few stray feathers suggested a gripping plot twist.) Later that morning, it began to snow again, and all these stories gradually disappeared. By the time my boys came tramping home from school, they were once more tasked with picking out a brand-new path across a fresh unbroken expanse of white.  

After dinner I went for my own habitual walk. We’d had yet more flurries, so I had to make new footsteps all over again. By then the wind had dropped, the sky was crystal clear, and the snow had gone from powdery to satisfyingly crunchy underfoot. It felt like an awe-filled privilege to leave my trail of footprints. I walked one of my usual routes, but the white covering had softened both the landscape and the soundscape, making everything seem new and unfamiliar. As I trailed back through the housing estate, I noticed snowmen that had popped up in some front gardens, and neighbours who were chatting as they helped each other to shovel driveways and grit paths. Snow suspends the rule that we have to be standoffish and dour, even in Scotland. 

What if I could always watch yesterday’s path being gently erased, and always have another chance to make new?

All in all, it was difficult to feel blue on a white Monday. The snow made it feel as if nothing was permanent, let alone usual. There was no drudgery, no same-old, same-old. I wondered if I could become like one of those tiny birds, skipping lightly through each day’s work? Even whilst canny to the fact that a certain sneaky cat was prowling about. By the time I got home, there were new prints from him also.  

 In the Bible, snow appears as a metaphor for forgiveness, for making a fresh start. We read in the book of Isaiah: “Though your sins are like scarlet, they shall be as white as snow.” There is much in this idea that runs counter to how our modern society responds to misdeeds – especially in this age of instant messaging and social media, when photographic evidence of our blunders can travel the world instantly and be preserved for posterity. There is also much that runs counter to how I respond to myself when I mess things up. It is not usually the howling wind that keeps me up with ‘the dreads’ on a Sunday night, but my mind’s hobby of regurgitating memories of the previous week’s mistakes, misspeaks, and misunderstandings. In the pre-dawn hours of a Monday morning, I am usually awake and well occupied with the prospect that, in the week to come, I will almost certainly make many of those same mistakes again. I walk those same old paths, re-tread those familiar footsteps – the inevitability of my own imperfection is ever before me.   

But what if I peered out of the window at the daybreak of every Monday morning and found that there was snow? That I was held in a liminal moment – less sure of what the coming week would hold. What if I could always watch yesterday’s path being gently erased, and always have another chance to make new? Ideas such as this are at the heart of the Christian hope. In the Bible, the Psalmist writes that God does not treat us as our sins deserve, nor repay us according to our mistakes. Instead, God takes them away so infinitely that they are: “as far as the East is from the West.” They are gone, from red as scarlet to as white as snow. 

I suppose snow every Monday would be inconvenient. But snow on Blue Monday felt like a kindness – a gentle rendering of the familiar into the unfamiliar, allowing me to see things anew, to reflect, to reconsider, to redirect my steps in certain ways. As I write, there is more snow falling. Later I shall have to go out with the shovel and the grit, but I won’t do it yet. If I leave it for now, then when my boys return from school in a few minutes time, they too can tread one more time with awe across a fresh, unbroken expanse of white. 

Article
Creed
Egypt
Film & TV
Freedom of Belief
6 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief