The New Boy

The saying “hindsight is always 20/20” can apply to just about anything—from last night’s game to major historical events. And when it comes to history, hindsight often serves as our best judge. We’ve looked back at countless decisions made in the past and gasped at the horrors they produced. Yet, even with those lessons staring us in the face, it feels like we still don’t always learn. Every place on this planet has its own skeletons in the closet—some mistakes history has deemed unforgivable. In The New Boy, director Warwick Thornton draws on one such dark chapter to tell a story that is personal, haunting, and quietly powerful.

Set in the remote Australian outback, the story centers on a small monastery run by Sister Eileen (Cate Blanchett), with help from Sister Mum (Deborah Mailman) and George (Wayne Blair), the groundskeeper. When Father Don suddenly dies, the trio tries to keep his death a secret, fearing they’ll lose the land—and their ability to care for the orphans who live there. One of those orphans is a recent arrival, a mysterious Aboriginal child known only as “the New Boy” (Aswan Reid), who’s struggling to adjust to his new surroundings. He’s bullied by the other boys for being different, but the sisters welcome him with cautious care.

As the boy begins to display miraculous abilities—healing the sick, showing signs of divinity—Sister Eileen’s long-held religious beliefs are shaken. Is he a vessel of God, or something else entirely? Her faith is tested as she tries to maintain order in the monastery and control over her own beliefs. Inspired by his own childhood experiences as an Aboriginal boy in a Christian boarding school, Thornton chooses to express the film’s deeper messages not through exposition-heavy dialogue, but through imagery and symbolism. While this works well early on, the film’s visual metaphors eventually begin to cloud the narrative, making the story feel less accessible as it unfolds.

The New Boy isn’t always narratively clear, and it drags at times, but it’s still a visually stunning piece of filmmaking. Thornton, who also serves as the film’s cinematographer, makes the most of the breathtaking Australian landscape, using it to reinforce the film’s spiritual and emotional weight. And then there’s Cate Blanchett, arguably one of the greatest actresses working today. She brings depth and quiet strength to Sister Eileen, effortlessly commanding every scene she’s in. Equally impressive is young Aswan Reid, who speaks little but communicates volumes through his expressions and presence.

The film’s first half is strong, even gripping at times, but it starts to lose momentum toward the end. While The New Boy contains many thought-provoking ideas, it isn’t always as cohesive or impactful as it could be. Still, despite its flaws, it remains a remarkable looking film—one of the best-looking you’ll see this year—and a deeply personal meditation on faith, identity, and colonial history.