Sarah Silverman leans forward on her vanity, arms locked straight and shoulders up around her ears, demurely pouting at her reflection. Hinging at the hips, she lowers herself onto the dresser surface, tilts her head and breathes huskily. “Stop,” she whispers. “I want you.” Groaning softly, she slides closer to the glassy surface patterned with cloudy spots appearing and vanishing as she pants heavily. Intrigued? This nod to Narcissus may be the single most printable, and perhaps the most politically correct, part of her new movie, “Jesus is Magic.”

In various tirades punctuated with smiles every orthodontist dreams of and wistful gazes suggesting innocence and a sensitive soul, Silverman unabashedly dives into endless taboos. From race and ethnicity (including black, white, Asian, Native American), to religion (namely Judaism and Christianity), to homosexuality (“Right, he’s gay. ‘Oh, that’s totally normal! It’s like your vagina'”), to the elderly (“You’re gonna die soon!”), to her sex life (and her parents’), to the mentally disabled and the vertically challenged, tying it all together with a song accompanied by her harmonizing genitalia. Warning, this film is not meant for the thin-skinned. Yet somehow, no one can claim racism, sexism, etc. – not with those doe eyes, that brass-balls voice and the smooth face suggesting youth and na