Signs: it's a different movie if you consider the aliens are actually DEMONS

The 2002 film "Signs," directed by M. Night Shyamalan, is a rich tapestry of suspense, science fiction, and spiritual exploration. While on the surface, it tells the story of an alien invasion, a deeper analysis suggests that the extraterrestrial visitors might not be aliens at all, but demons. This interpretation aligns closely with the film's thematic core, particularly the profound journey of its protagonist, Graham Hess, as he navigates the turbulent waters of lost and regained faith.

At worst, it's a great fanboy theory about the movie.

The running joke in "Signs" about the varied perceptions of the invaders underscores the film's exploration of subjectivity. 

Each character's interpretation of the events—a cop seeing them as mischievous children, bookstore owners dismissing them as a marketing ploy, a military recruiter viewing them as an enemy force, children imagining them as UFOs, and the protagonist, Graham Hess, perceiving them as a test of faith—illustrates the film's thematic concern with the lenses through which we view our world. 

This diversity of interpretations challenges the audience to consider the role of perspective in shaping our understanding of reality.

The revelation regarding Graham's daughter, seen by many as an "angel" and her peculiar relationship with water, adds a profound layer to the narrative. The film's depiction of her leaving glasses of water around the house, which Graham later realizes act as "holy water" against the invaders, recontextualizes the initially scoffed-at weakness of the aliens. 

This detail transforms the critique of the water vulnerability into a symbol of spiritual protection and purity, aligning with themes of sanctity and divine intervention.

The creature's aversion to water, especially when it is implicitly blessed or prepared by a child of perceived divinity, parallels traditional narratives of demonic entities' reactions to holy artifacts (In a Hollywood sense think a certain Wicked Witch melting when water was poured on her). This interpretation enriches the film's texture, suggesting that the invasion is less about extraterrestrial beings and more about a spiritual battleground manifesting in the physical realm.

The behavior of the creatures in "Signs" further supports the demonic interpretation. Their actions, reminiscent of mythological demons or vampires—unable to forcibly enter homes, being thwarted by simple barriers, and acting as tricksters—evoke folklore and religious tales rather than science fiction conventions. The mention of ancient methods of repelling the invaders discovered in the Middle East, a nexus of Abrahamic faiths, implies a return to spiritual roots and mystic defenses, reinforcing the film's undercurrent of religious and mythological motifs.

Moreover, the film is replete with Christian iconography and the theme of "Signs and Wonders," hinting at divine intervention and the presence of a larger, spiritual plan. The crucifix shapes and other religious symbols scattered throughout, including the pivotal overhead shot suggesting a cross, underscore the film's exploration of faith and divine signs in the modern world.

At the heart of "Signs" is Graham Hess's journey from skepticism back to faith, framed by the alien (or demonic) invasion. The film masterfully uses the invasion as a metaphor for Graham's internal struggle with faith in the aftermath of personal tragedy. The realization that the events he perceives as a test of faith are actually part of a divine plan leads to his spiritual renewal. This narrative arc, culminating in Graham's acceptance of his role within a universe governed by signs and wonders, captures the essence of the film's meditation on faith, perception, and the search for meaning.

... but the were clearly little green men and therefore aliens :) 

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