The New Boy

Overall, a beautifully photographed film amongst the beautiful landscapes and county of Australia. OK acting by the main cast and a beautiful soundtrack to accompany it. The sound design is terrific as well as the production and costume design and that's where the beauty stops. The films narrative is convoluted and not clear and is left to major interpretation which in storytelling means it's a weak premise with no real strong intention. It dances around the ideas of faith and indigenous culture, but it's never fully fleshed out, disappointed coming from a first nations director. There was definitely potential there in a conceived spiritual essence of an idea which was left underdeveloped and a missed opportunity to mix faith and spirituality. The imdb synopsis stated that it's about a renegade nun (Cate Blanchette) but that doesn't really describe the character. The film is easy to watch, pacing is better than most Aussie films, but it just needed so much more, Aussie films have this real problem in being able to do the simplest of things - Tell a good yarn on screen. Why is that? We get this idea that we must continue to tell first nation stories BUT we cannot find a new angle or a GREAT story to tell, this story is mediocre at best and Cate Blanchette can't save this. Doesn't matter how many AACTA or award nominations this film gets - your larger GENERAL audience can see through the pretentious arty-fartyness of underdeveloped narrative storytelling and by attaching known actors - it tries to sell you that this a film worthy of accolades. Films are political now, not made or judged by their merit but by the politics of the government agencies and the people who have power to get them made.

The film s well-made and it shows from the decent budget it was made with - but that deserves no accolade - tell a story and move me, make me feel emotion - I felt nothing watching this - disappointing because the hype didn't watch the viewing experience.

It's 1940's in the Australian outback. An Aboriginal boy is captured by the police and sent to an orphanage run by Sister Eileen (Cate Blanchett). Everybody is hiding the fact that the priest who is supposed to be running the place, is in fact dead.

The movie is definitely trying to do something interesting. I applaud the attempt. I don't know if it's actually a good movie. It starts with a bang and then it becomes a murky flight of spirituality and identity. I like the kid and one can't do much better than Cate Blanchett. It's worth a try to see this once if you can stay with it all the way to the end. I won't be seeing it again.

Warwick Thornton's new film is a moving meditation on what it means to be caught between two cultures and the challenges of trying to bridge incommensurable spiritualities. Aswan Reid is the unnamed 'new boy' a nine-year old new arrival at a remote mission in 1940s South Australia, led by Sister Eileen (Cate Blanchett).

The new boy is a 'clever man' with the spiritual powers of his own Indigenous culture and a fascination for the Catholic spirituality he encounters at the Mission. This interest is interpreted by Sister Eileen as a conversion (with the miraculous overtones of bearing the stigmata) but the new boy's baptism leads to a disruption in the emerging 'two-ways' connections between Indigenous and Catholic spirituality.

The film is shot beautifully by Thornton who also writes and directs this semi-autobiographical film (though relocated to an earlier time period than his own). There is a scene where the new boy is running a foot race, goes beyond the finish line, and just keeps running. Sister Eileen calls out 'Come back!' while Aboriginal work-hand George (Wayne Blair) calls 'Keep going!' This litany continues for some time and serves as an interesting metaphor for the situation of so many caught between Blackfella and Whitefella worlds.

Deborah Mailman offers good support as 'Sister Mum' and all the boys offer good naturalistic performances. It's refreshing to see a film about dispossession and colonisation where genuine kindness and compassion is on display rather than straightforward cruelty and abuse. While it doesn't quite have the power of Thornton's other films, such as Samson and Delilah (2009) or Sweet Country (2017) it confirms his reputation as one of Australia's best film makers.

If you're looking for a film that will transport you to a different time and place, challenge your assumptions, and touch your emotions, look no further than "The New Boy". This Australian drama, written and directed by Warwick Thornton, is a stunning cinematic achievement exploring colonialism, religion, identity, and resilience.

The film is set in 1940s Australia, where a nine-year-old Aboriginal orphan boy (Aswan Reid) is taken in at a remote monastery run by a renegade nun (Cate Blanchett). His arrival disturbs the delicate balance of the place, where other Aboriginal children are taught to assimilate into the white culture and forget their roots. The boy, who has no name, is mute and mysterious and seems to have supernatural abilities that attract curiosity and fear. He forms a bond with Sister Eileen, who sees something special in him and tries to protect him from the world's harsh realities.

The cinematography by Thornton is breathtaking, capturing the beauty and harshness of the Australian landscape. The film uses natural light and minimal dialogue to create a realistic and immersive atmosphere. The score by Nick Cave and Warren Ellis is haunting and evocative, enhancing the mood and tension.

The performances are also outstanding, especially by the young Aswan Reid, who conveys so much emotion and depth with his eyes and gestures. He is a revelation, and his chemistry with Cate Blanchett is palpable. Blanchett delivers another masterful performance as Sister Eileen, a complex and conflicted character struggling with her faith, duty, and compassion. Deborah Mailman and Wayne Blair are also excellent as the other nuns with different views on dealing with the boy.

The New Boy is not a conventional or easy film to watch. It's slow-paced, subtle, and ambiguous. It doesn't shy away from the brutality and injustice of the colonial system, nor does it offer easy answers or resolutions. It challenged me to think and feel, to question and empathise.

"The New Boy" is a powerful and poetic film. It has stayed with me since seeing it. Check it out if you want to see something different, profound, and thought-provoking.

An aboriginal boy is taken from his home and dumped at a remote church school in 1940s Australia. The new boy impresses his classmates and instructors by taking the adversity in stride, showing empathy, sharing instead of taking, and working some magic in order to heal others from their wounds.

I loved Warwick Thornton's previous film Sweet Country, and enjoyed the gorgeous images here of the wheat fields in the twilight, but even Cate Blanchett the nun can't resurrect such a weak script and thin plot line. The entire film should be compacted into five minutes and audiences will be thankful for it. I sympathize with the film's anticolonial theme and appreciate that it is generally uplifting and positive, but c'mon, let's have an interesting conversation somewhere along the line! North American premiere seen at the Toronto International Film Festival.