Warwick Thornton was taken to a Christian boarding school administered by monks and nuns as an Australian Aboriginal child. The New Boy, the director’s seventh feature, was inspired by that life-changing event, but don’t expect a simple slice of direct autobiography. It’s an odd confection, veering between a somber analysis of religion and colonialism and something fanciful or otherworldly. There’s even an unexpected storyline reminiscent of Weekend at Bernie’s. Furthermore, you won’t come away from this movie with any simple solutions.
Sister Eileen, the head of a Catholic mission in Australia’s Northern Territory, is portrayed by Cate Blanchett in her first appearance in Australia in a number of years. Following the extreme, overwhelming assurance of her performance in 2022’s Tár, Eileen exudes an intriguing nervous energy; she seems to be equally afraid of and dependent upon her faith. She is innocent and misinformed, but she is also quiet and sly. She pretends to be the mission’s patriarch, Don Peter, and signs official business letters in his honor for the benefit of delivery personnel. Blanchett, of course, is always exceptionally engaging, even in those moments when the role seems a bit underdeveloped.
The story has profound Australian roots, stemming from its terrible past.
The arrival of the unidentified new boy upsets the delicate balance of the nuns’ mission, and Thornton gets an incredibly natural performance out of newcomer Aswan Reid, who wanders around the set as clumsily and messy as his curly blond hair. He exudes innocence and enthusiasm, and the movie comes to life via his vibrant eyes, almost giving the impression that it is an unconventional coming-of-age tale. A lens flare reminiscent of an Amblin adventure from the 1980s trails a miraculous spark of light that suggests the new boy has healing abilities; in other scenes, Thornton’s camera feels almost Terrence Malick-esque, making the most of the sandy desert sunrises.
The movie has a strong, enduring spiritual quality, and Thornton seems to be drawing parallels between Christian mysticism and Earth-centered Aboriginal “geosophical” belief systems. Perhaps these two traditions are not so unlike after all? Or are they completely irreconcilable? It can be confusing to not know exactly what stance the movie is taking. Rather, Thornton relishes in a somber, leisurely pace, frequently appearing to merely remain still.
However, it appears that this story has been purposefully placed in a specific period and location. With its horrible past (the new boy is taken against his will, a result of the nation’s discriminatory assimilation policies), the story is uniquely Australian. The eventual imposition of a Western name on him feels symbolic of the loss of innocence and identity. Though the New Boy’s reflections don’t always make sense, they do prompt us to consider whose souls are actually in need of salvation.