Babylon A.D. follows the cyberpunk playbook pretty faithfully. The film depicts a future society, post-2017, of "mega corporations." Here, even Organized Religion is Big Business, and the Noelite leaders regularly check to see if their stock options are "sky high" or falling.
In accordance with this idea, twice in the film Toorop is forced to contend with items that don't work properly: a hand-gun and lighter, in particular. The overall impression is thus of a used-up world, squeezing the last drops of viability out of late twentieth-century technology and wealth.
He finds that connection, surprisingly, in a revival of his spirituality. Certainly, Babylon A.D. speaks a lot in the language of faith: Aurora's journey across the globe takes six days, there's a human populace "starving for miracles" and, yes, there's also the idea of immaculate conception.
For example, Toorop, Rebekha and Aurora find themselves running on a gigantic ice field with other Russian refugees at the start of one scene, and the moment leads to a bloodbath at a parked submarine. Yet we don't know how anyone got there or what's going on. Instead, the scene plays as if someone blew a whistle, and all the actors started simultaneously running a race.