Portraiture whose solution is the distant Literally, painting: Street Angel

Some films propose a figurative thought that renews theological debates and engages theoretical conjectures on images. For instance, if Gance assumes that the cinema is a "luminous resurrection", isn’t it because the projection transports the glorious body of human beings stripped of its organic functions and reduced to its somatic idea throught the spoke of a machine ? In Borzage’s Street Angel, how does the painted portrait become a interface between theology and the singularity of cinema?