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Amazon's initial suppression of this deep and intelligent documentary speaks to the anxiety that surrounds any discussion of race in the modern age. Shelby Steele - who saw segregation and the civil rights movement with his own eyes - provides a detailed context for the poverty afflicting many African-American communities today. This should not be controversial, but in an era when any deviation from the "systemic racism" assertion is treated with book-burning horror, I guess it counts as brave. Ironically, Steele explains that there is indeed a systemic problem, and one which disproportionately affects black people. It's just not the problem the world thinks it is.

Having been in some kind of development for the past quarter of a century, Martin Scorsese's Silence finally opens. And after a grim 2016 it emerges as the perfect gift for the new year: a deeply probing and contemplative epic exploring themes of persecution, integrity, truth and faith, which seems not only apt for our times, but necessary.

We open with the chaotic sounds of nature – a cacophony of insect chatter and animal wailing – and then we cut to "Silence".

The year is 1633 and the place is Japan. Father Ferreira (Liam Neeson) provides the context. He's a Jesuit priest, captured and tortured by the Japanese for his faith. Jump to 1640. Two of Ferreira's students, Rodrigues (Andrew Garfield) and Garrpe (Adam Driver), are informed that Ferreira has gone AWOL in Japan. The crackdown on Christianity has turned that country into a dangerous place for Christians. Rumours abound that Ferreira has denounced his faith. But Rodrigues and Garrpe believe this is slander, and they set off for Japan to bring Ferreira home.

The wandering priests enter a coastal village and are welcomed by the native Japanese, who exist in crushing poverty, struggling under the ruthless, ever-watchful eye of Inoue Masashige (Issey Ogata). Suspected Christians are regularly dragged from their homes and forced to publicly denounce their God by stepping foot on the image of Jesus.

This "trampling" becomes a key weapon and point of conflict in the story. As the Japanese rulers repeatedly state, it is "just a formality". But for the flock it means the relinquishing of faith; a surrendering of who they are. It's called "korobu", literally meaning "to fall down".

When Rodrigues advises the villagers to go ahead and "trample", he is applying real-world advice to a punishment that threatens their very existence. Yet what about Rodrigues himself – why should he not heed his own advice? The Japanese believe it's a matter of ego; that Rodrigues is arrogant. But is it not his job to be held to a higher religious standard?

The story is seen almost exclusively through the eyes of Rodrigues: his horror at the cruelty of the ruling class; his ambivalent but ultimately loving relationship with Garrpe; his guilt and doubt about his faith and his mission; and finally the extent of his service under a repressive system. After all, what relief can he provide dead? Even if it makes him a hypocrite in life.

In the basic plot there are parallels with Heart of Darkness, and by extension Apocalypse Now, although don't expect a crazy Colonel Kurtz showdown. The inevitable confrontation with Ferreira is a philosophical fight. What is found is scary and threatening to Rodrigues, but not for the reasons one might imagine. Indeed, this third act shifts our view of the priests, who were once unquestionably saviours, to something less morally clear.

But the greatest parallels are with Scorsese's own film, The Last Temptation of Christ. Like Willem Dafoe's Christ, Garfield's Rodrigues is humanised. He's temperamental, doubtful, even hopeless at times. Always burdened by this divine responsibility, although perhaps less resentful than Nikos Kazantzakis's Son of God. Garfield brings great warmth to the role, and an agonising, largely internalised passion.

Special mention must go to the sound design. It's a quiet film but one which is conspicuously bereft of silence. At one point Rodrigues hands a token – a tiny wooden cross – to a poor villager, and it seems to chirrup like a living thing. Scorsese is reminding us that nature is never silent, and rarely is the human mind.

By the end, we are left with more questions than answers – which is fine, because they are questions we can all ask of ourselves. Narratively harking back after the lifetime of Rodrigues, we ask: If a person's faith is not permitted to be shown – not fetishised – does that mean it is vanquished? Belief, one might argue, is actually given strength by repressive rules, driven deeper, into the soul of the individual. (Or, for the atheists among us, into the unvoiced subconscious.)

All of which makes us look at the broader struggles portrayed throughout the film in general. The Inquisitor frequently refers to Japan as a swamp in whose soil Christianity can never take root. Indeed, as a structured organisation, Christianity may not be able to overthrow the Buddhist order. But on an individual level, leaving aside rituals or tokens, there will always be those who need relief from the burden of their guilt, or who struggle with their personal integrity.

In the wake of last year's events, it is sometimes mentioned that we are living in a "post-truth" world. That truth is the objective kind, whereas the "truth" to which Silence refers is something different: the truth that beneath the artefacts of our belief systems – the crosses and the books and the veils – lies a shared belief in humanity; a desire for order and community. In portraying the captors and captives in a nuanced way, without madness or outright evil, Scorsese isn't obfuscating this greater truth but illuminating it.

At 160 minutes, Silence looks on paper like a slog, but it's briefer than your average Middle-earth movie and it is never dull. This isn't Bela Tarr, where boredom is a currency; there is purpose and drama in every scene, and if you surrender to its perfectly paced lull then you will emerge self-reflective, and quite possibly into the most interesting post-cinema pub conversation ever.

I confess to being predisposed toward Disney's latest animated feature thanks to my adoration for The Legend of Zelda: Wind Waker. Like that classic video game adventure, Moana is all about the epic wonder of the rolling ocean, and the primal and mystical forces that flow between its precious islands. There are also hints of Hayao Miyazaki – especially Nausicaa and Princess Mononoke – in its strong heroine and its concerns with humanity's impact on the environment.

Moana (Auli'i Cravalho) is being groomed to become chief of her Polynesian paradise of Motunui. Yet Moana is drawn to the sea and what lies beyond the horizon. In an elegant prologue, we see an infant Moana protecting a turtle as it waddles toward the ocean. Suddenly the water itself comes alive like Aladdin's carpet (this film is also directed by Ron Clements and John Musker). So we know straight away that Moana has a special understanding with the ocean, as well as an innate empathy with nature.

Less so, Maui (Dwayne Johnson). He's a demigod who stole the heart of Te Fiti, the goddess who created all life. Now a corruption is creeping through the islands. Moana's dad believes that she has a duty to stay and protect her people. But Moana's grandmother feels for her wanderlust, and encourages her to follow her instinct – an instinct which tells her to set sail and find Maui, bring him to Te Fiti, and return the goddess's heart. Obviously this is the choice Moana makes, and her adventure takes her far beyond the safe coral of her homeland.

Moana begins as a leader (not a princess, she insists), with her parents pulling her away from her calling. It's the classic duty versus individuality conflict, mostly rendered without black and white moralising. "Find happiness where you are" is the repeated mantra of the islanders – but the story's ultimate message is that such domestic happiness can only be maintained by respectfully communicating with foreign lands. (If only, humanity, if only.)

Technically speaking, Moana gives us a new level of detail in CG animation. Not just in the texture rendering but in the nuance of the animation itself. The living sea – snaking like the probe in James Cameron's The Abyss – is full of wordless charisma. The general art style is nicely aligned with classic Disney 2D, except the extra dimension feels necessary to embellish the breadth of the setting.

The pacing is near-perfect. By now, Disney Animation Studios probably have an algorithm for the ideal narrative structure. But heck – if they do, it's working. From the myth-building first act and the character interplay of the second; from the moment of self-doubt to the final (very touching) showdown: it's pleasingly predictable and entirely satisfying.

That structural predictability allows for some fantastically bizarre setpieces along the way. Personal favourites are the attack of the Kakamora, where the movie suddenly turns into Fury Road for kids; and the Realm of Monsters, which movingly updates the weird 80s fantasy environments of films like The Legend of Sirius, and then throws in a giant glam-shelled Jermaine Clement to do a David Bowie impression.

The interplay between Moana and Maui, which constitutes the drama and humour of the middle section, is smartly written and full of sparks. Being a demigod, Maui is a raging narcissist, so Moana quickly realises that persuading him to do the right thing requires an appeal to his ego – an ego which bellows godliness while whispering a fundamental vulnerability.

Moana herself has the goofy appeal of the modern Disney heroine. Going deeper, her internal conflict isn't original but nor does it feel forced. Johnson and newcomer Cravalho deliver excellent voice work, some of which requires belting out lung-busting songs. Moana's theme may not be Disney's catchiest number but it sure is stirring.

Joining the adventurers is a doolally rooster named Heihei. He's the slapstick cartoon element, narratively pointless but occasionally amusing. Perhaps he was inserted for younger children, because the rest of the humour is more subtle. I particularly enjoyed Maui's bromance with his living tattoo, acting as a kind of pectoral-based conscience beside his heart.

Moana is up there with the best of this Golden Age of American Animation, which shows no sign of dwindling. It is extraordinarily well made and efficient, big-hearted, and achingly beautiful. Familiar elements abound, but they're remixed into an original setting with a rich mythology. Combined with thoughtful characterisation and a highly laudable (and, depressingly, an endlessly relevant) message, Moana will be seen and savoured for years to come.