By Victoria Luxford
Cate Blanchett produces and stars in gripping religious drama, The New Boy set in 1940s Australia. She plays Sister Eileen, a nun who runs an orphanage for indigenous boys, part of the Australian government’s plan to assimilate the indigenous culture to Christian ideals. One day, a nameless new boy (Aswan Reid) arrives, unable to speak English and still holding a connection to the land that gives him supernatural abilities.
Since his breakthrough with 2009’s Samson and Delilah, director Warwick Thorton has been known for stunning films and stories that platform Indigenous Peoples’ history in Australia. His latest follows those traits, with a sobering opening title explaining The Church’s role in the 20 Century Australian policy of reducing the non-White population. It makes for a layered story, one without easy questions or answers. Blanchett is endearing as the quirky Nun who genuinely cares for her charges, and yet she is part of a system of abhorrent ethnic cleansing.
With this, and the supernatural elements of the film, the viewer is invited to see beyond the broad strokes, accepting that there are good intentions within horrid practices, and vice versa. No one is forgiven, or excused, but instead Thornton portrays the complicated reality. What is straight forward is the talent of Reid, delivering a performance that outshines her Oscar-winning co-star. His presence and authenticity on screen suggest this may signal the arrival of a future star.
The New Boy fits a lifetime of questions into a short time, meaning not everything is explored to its fullest extent. Nevertheless, it’s a captivating story of faith and morality.
