The New Boy (2025)

-Written by Kyle Bain.

When a nameless boy (Aswan Reid) arrives at a monastery run by Sister Eileen (Cate Blanchett), a well-balanced world quickly comes crashing down. The New Boy explores racism in 1940’s Australia, and the challenge of being different in an inherently harsh world. 

Viewers are slowly, cathartically eased into The New Boy–a film steeped in racism. The opening seconds are heavy, but the calming score that accompanies those emotional images creates something unique. The opening scene depicts Reid's character struggling against the heavy boot of a racist system, both literally and figuratively. We are provided very little context in these opening moments, but it seems clear that this young boy is attempting to defend himself, rather than being the aggressor. Writer-Director Warwick Thornton creates an interesting juxtaposition in the opening scene. The initial shot of The New Boy almost makes it appear that the boy is the agitator here, a commentary on social and racial hierarchy. 

After this moment, however, I’m not entirely sure that we get the visceral film that we are promised. The New Boy becomes something of a mystery, but it lacks the ability to force viewers to ask questions and play along. With that, The New Boy becomes a challenging film to focus on, to care about. With only the occasional glimpse into who and what the titular new boy is, nearly the entire first hour of the film had me questioning one thing–what the point of the film is. 

It takes until the hour mark for something substantial to happen. In retrospect, some of those minor occurrences make sense, and were clearly leading us in a specific direction. Regardless of the failure or success of those moments in the early going, once The New Boy turns a corner it’s only up from there. MAJOR SPOILER INCOMING!!!

That titular new boy is the reincarnation of Jesus, the Messiah. I do continue to question whether Thornton intended for Reid’s character to be the Jesus or a second iteration; either way, he is the Messianic archetype, the savior, the chosen one. Regardless of the title he’s given in The New Boy, his purpose is clear. 

What appealed to me the most throughout the course of The New Boy, regardless of its other strengths, is the unique aesthetic strewn throughout. Prisms of light often appear on screen, paired with the young boy, creating gorgeous moments that are both physical and visceral. These individual moments throughout the first two acts of the film are what kept reeling me back in, what allowed me to remain present in the narrative and peer into the future of the film. The New Boy uses these moments of light and beauty to represent the boy’s journey in a very physical way, and the technical prowess of this team to be able to bring it to life is simply impeccable.  

Every once in a while I’ll sit through the entirety of the end credits, and this is one of those times. The grandiose score that accompanies the final credits, and becomes slowly more heightened by the final seconds is a brilliant representation of what The New Boy is meant to be. This is a fitting end to a film meant to express historic and religious significance.

The New Boy drags on in the middle, creating a sense of boredom for a bit–however, sandwiched between a powerful opening scene and a brilliant third act, the film ultimately remains on the right track through its majority. The New Boy is a film that is heavily steeped in religion, but extends itself beyond those parameters. The film ultimately possesses a narrative that is far reaching, and the use of incredible visuals to tell this story only propels it further. 

Written & Directed by Warwick Thornton. 

Starring Aswan Reid, Cate Blanchett, Deborah Mailman, Wayne Blair, Shane Mckenzie Brady, etc. 

8/10 = WORTH RENTING OR BUYING