Warwick Thornton is a true master of visual storytelling. The opening frames of The New Boy are a breathtaking collage of inland Australia, with sweeping shots of dusty ground, a small boy on a policeman’s back, and a pre-war telegraph pole, all drenched in the searing white midday light of the desert. Thornton’s eye for beauty is unparalleled, and he finds it even in the most unexpected places, like a window frame or a simple wooden figure. But this film is not just about stunning visuals; it’s a powerful exploration of Australia’s founding story and the tragedy of conquered Indigenous peoples.
The story follows a group of Lost Boys, Indigenous children living in a mission run by Sister Eileen (Cate Blanchett) and Sister Mum (Deborah Mailman). The New Boy (Aswan Reid) is a mysterious and otherworldly presence, with the ability to catch snakes in his hands and generate a strange light with a snap of his fingers. When he appears to develop stigmata, Sister Eileen is both thrilled and confused, torn between her pragmatic faith and her desire for a miracle. Blanchett’s performance is nothing short of extraordinary, conveying a complex mix of conflicting emotions with every twist and hunch of her body.
At its core, The New Boy is a film about two spiritualities and two ways of life, embodied in this sliver of a boy. Thornton layers complex metaphysical ideas with few words, creating a story that can never be fully resolved. It’s a film that takes belief seriously, without being a declaration of faith. And it’s a film that demands to be seen, not just for its stunning visuals, but for its powerful exploration of Australia’s past and present.
