Muriel's Wedding vs. Brazil Religion and creating an attainable myth of self and cultural reinvention: "Muriel's Wedding" versus "Brazil" in Film

Both the Australian films "Muriel's Wedding" and the 1980's film directed by former Monty Python cartoonist Terry Gilliam entitled "Brazil" makes use of fantastic tropes and mythical tribulations to weave different myths about the truth of human existence. Both films have used the epistemology of magic to articulate the psychological longings of, in one case, a lonely young woman, and in the case of "Brazil," a lonely aboriginal society that exists as a mirror of even a lonelier consumerist contemporary world.

At first, "Muriel's Wedding" seems the more realistic of the two films, beginning with a portrait of an overweight Australian teenage girl named Muriel who uses shoplifting and her father's pilfered credit cards to try to buy herself happiness, as well as trying on bridal gowns in shops for free, in the absence of a groom or even a boyfriend. But the cartoon-like style...

Both use as well as parody magical concepts to demonstrate the human psychological self's ability to reinvent the soul in a fantastic yet attainable fashion. Thus, the films are religious and mythical in nature, despite their broad use of humor.
Brazil" is set in a jungle where a Coca-Cola bottle becomes an object of veneration by a tribe.

In "Brazil," the central character must travel away from his society. Like Muriel's departure from her backwater home, his is also fool's journey of self-exploration, as well as a journey to gain another bottle after the sacred Coca-Cola bottle (dropped accidentally from the sky, by a traveling plane) has been broken. In "Muriel's Wedding," the central character…