The Collision of Christianity and Indigenous Beliefs: ‘The New Boy’ Review

The opening scene is a beautifully shot scuffle between a grown adult man and a nine-year-old aboriginal Australian child— a boy —in the desert. It leads to several questions, ranging from “What is going on?” to “Why are they fighting one another?”. The child chokes the man unconscious before running towards another man. It appears the boy is sprinting to attack the newcomer, but the man throws two boomerangs, and one manages to knock the boy unconscious. At this moment, the boy’s life is uprooted; the life he’s always known is  stripped away from him as he is dropped off at a monastery. 

A historical drama with fantastical elements, The New Boy (2023), by director, screenwriter, and cinematographer Warwick Thornton, examines faith, cultural strife, and the tenacity of indigenous spirituality. Set in the 1940s, a young Aboriginal boy, played by Aswan Reid, is brought to a monastery and left in the care of Sister Eileen, a nun played by Cate Blanchett. The film pushes the limits of traditional storytelling to produce an engaging narrative that deeply resonates with the audience through the combination of breathtaking photography, brilliant direction, and outstanding acting. 

The unidentified Aboriginal boy is the central character of the film. His character personifies the collision between  two worlds, Indigenous beliefs and Christianity. Reid’s portrayal of the characters speaks volumes in a silent performance, perfectly expressing the characters’ compassion, adaptability, and quiet persistence. The enthralling dynamic created by the subtle contrast between Cate Blanchett’s powerful performance and Reid’s silent eloquence drives the film’s emotional heart.

Warwick Thornton skillfully crafts a narrative that is both thematically and visually compelling. The film expertly captures the vast Australian landscape. Long, sweeping shots highlight the stark contrast between the freedom of the outdoors and the restrictions of religious obligation by bathing the audience in the beauty of nature. The use of light and shadow gives the film depth by emphasizing the clash of beliefs and reflecting the fundamental turmoil among the characters. One concurrent moment is when Reid’s character crawls under the bed and uses his powers to distract himself from the foreign situation he has found himself in. The film uses light and shadow to portray his inner conflict of allowing his new teachings to overtake his beliefs. 

The New Boy excels in its exploration of themes. The film dives into the inherent kindness and community spirit within Indigenous belief shown on multiple occasions by Reid’s character. One brief instance portrayed one of the boys, Matthew (Tyrique Brady), being punished by the head boy, Michael (Shane Brady), for stealing food. His punishment was to be caned, to be struck a number of times by a cane, and Reid’s character watched until Sister Eileen stopped the boys from continuing. The other boys left Matthew cradling his hand before Reid’s character helped him up, even giving him his extra scoop of food. 

Another instance showcasing the kindness of Reid’s character is when all the boys are taken to build a stone wall. During their time building, a poisonous snake bites Michael was bitten, and its venom spreading throughout his body. Even though Michael has allowed his newfound power to overtake his mind, Reid’s character chooses to help. Using his powers, he removes the snake venom from Michael’s body. 

The narrative also highlights the subtle yet visceral nature of indoctrination, depicting the coercion and fear that frequently reinforce religious imposition. The film does so by portraying the boy’s abilities: the ability to heal and seemingly conjure light. His abilities disappear after Sister Eileen baptizes him. His realization is the heartbreaking reality of losing a significant part of himself. Throughout the film, the light acted as a companion to the boy, being his only source of connection to his life before the monastery, but the  baptism severed his connection. 

The film exhibits the externalized battle of faiths. Taking a different approach than delving into the internal struggles of individual characters, The New Boy presents a subtle battle of wills between Sister Eileen’s Christianity and the boy’s Indigenous beliefs. One instance of their battle occurs in the church. The boy goes up to the new cross the monastery recently received and pulls several small snakes from his pockets. The serpent in Christianity is often identified as Satan or the Devil, while for the boy’s belief, it is the creation ancestor. The boys' beliefs conflict with Sister Eileen’s preconceived notions, thus exemplifying the clash of their separate cultures. 

The sound design meticulously produced by Will Sheridan and Liam Egan is deliberate. The sound of the crunching gravel beneath the characters’ feet, the rustling of leaves in the crop fields, and the flickering of the boys’ magic are all intentional. Its goal is to immerse the audience in the action and give them the sense that they are part of every scene. An example of such immersion is when the boy is underneath his bed and his magic flickers into the camera lenses, affecting the camera as light would affect the eyes. It is an intentional detail that serves the purpose of pulling the audience into the scene. The stunning visuals and brilliant soundscape add layers of depth to the narrative while emphasizing the connection between the characters and their natural surroundings. 

The New Boy demonstrates the power of cinema as a medium for social critique and cultural inquiry. It challenges preconceived notions, promotes conversations, and exposes audiences to harsh realities. With its compelling narrative, outstanding acting, and profound themes, the film transcends beyond simple enjoyment and becomes a catalyst for introspection and empathy.  

In conclusion, The New Boy stands as a cinematic masterpiece. Warwick Thornton’s storytelling prowess, coupled with the outstanding performances of the cast, take both aspects of the film to new heights. It teaches and entertains audiences at the same time while examining the complexity of faith, conflict, and resilience.