Amber May Power reviews The New Boy at Borderlines Film Festival

Amid the sun-scorched beauty of rural 1940s Australia, The New Boy (2023) written and directed by Australian filmmaker Warwick Thornton, follows a young Aboriginal boy (Aswan Reid), who is captured and thrust into a bewildering new life at a remote monastery and boys’ home run by the somewhat mysterious Sister Eileen (Cate Blanchett).

Although not autobiographical, the story draws viscerally on impressions from Thornton’s own time spent at Catholic boarding school from age 13, where he experienced the divide between the Christian beliefs and iconography that he was encountering for the first time, and his Aboriginal heritage. He initially pitched his ideas to Blanchett, who was encouraging, and the two worked together closely to bring the concept to life – Cate also taking a leading role as a producer with her production company Dirty Films.

All the outdoor scenes are shot at a handful of locations near Burra in South Australia. The interior sets merge seamlessly, as do the costumes, and all is brought to life by Thornton’s award-winning cinematography which draws you in to explore a sensitively realized world. Visually, this film is a treat, and especially effective on the big screen. As an audience member you remain immersed and on-level with the action. Especially during the first half you feel that you are given time to look around and to relate to the characters.

The performances of Blanchett and the rest of the small cast are understated yet strong. The talent of 11-year-old Reid in his first acting role deserves a particular mention. His character is incredibly engaging, despite barely speaking a word! Without him, the film would likely have fallen short.

The New Boy exists within the fantasy genre but don’t expect your usual fantasy adventure movie. This is a historical drama in which magic is an element simply made more visible in juxtaposition to heavy religious symbolism. These elements can feel over-done at times. However, there are also moments created by this interplay that struck gold in my opinion and will definitely stay with me.

The wider sociopolitical context that this story grows out of is as ever-present as the blazing sun. However, within this landscape Thornton chooses to focus in on small moments of humanity, choosing to show rather than tell, and leaving much open to interpretation. Be warned, his slow-paced style will not be for everybody. Expect an experience more contemplative than factual.