The New Boy – REVIEW

Aussie movies have come and gone in recent years most with little or no interest from moviegoers, but that’s about to change with the release of Warwick Thornton’s magnificent Aboriginal drama The New Boy.

Set in the 1940’s, a young Aboriginal boy (newcomer Aswan Reid) is sent to a remote monastery which also serves as an orphanage run by Sister Eileen (Cate Blanchett). Troublesome at first, the new boy fits into white man’s world, building an endearing relationship with the sister.

It quickly becomes apparent that he has very unusual powers – but what is his strange and intensifying fixation or, more aptly, obsession with religion and the life size crucifix?

What starts out as a very simplistic story slowly develops complexities in the second half of the movie, propelled by surreal and somewhat disturbing symbolism which some audiences may find difficult to navigate. Why the new boy has these magical powers is not explored nor explained, left to the wonderment of the audience. This also cleverly builds the mystique.

Blanchett’s role as Sister Eileen is not a career-high role choice for the actress, but she nevertheless delivered her usual sublime performance as the likeable but somewhat unconventional sister.

The six young Aboriginal boys who have probably never performed in front of a camera before steal the show with their beguiling and formidable performances, notably Aswan Reid who now has a promising career ahead of him.

The achingly beautiful and intoxicating cinematography perfectly captures the scorched beauty of our sunburnt landscapes, creating a pivotal character in itself. Thornton’s astute direction and the breathtaking sound and musical score are other standout elements which compound to catapult this feature film into one of the top five Australian movies ever produced.

This is unquestionably a movie Australia can be proud of and deserving of much accolade.

★★★★

Screening at the Sydney Film Festival until Jun 18 and nationally in cinemas from July 6