It's interesting that this melody sounds again in the scene where Terehova's character is sleeping. It is a topic of melody which comes to the foreground, not its religious significance. The affects theory was established clearly in the Baroque era: the musical composition expressed the state of a human soul, mysticism and naturalness of a description contrasted in the literature. This is the way sleep theme, ghosting lives appeared, and metaphor of Baroque was formed ("The four season. Autumn". Part II "Adagio molto, Ubriachi dormienti" Vivaldi; "The Tempest" and "A Midsummer Night's Dream" Shakespeare).
The music of the late Baroque immerses the listener in a trance, into space where it is not clear if it is sleep or reality. That's why Bach's chorale prelude in "flight" scene is so organic. It doesn't just work on the atmosphere - it is upward movement itself. Pay attention to the scene when the character says: "So I flew up", and then "I love you" - her words follow the movement of the musical space (tessitura) - the high sounds speak about flight towards heaven, to the light.