The Two Popes: An unconventional buddy film

The Two Popes, director Fernando Meirelles’ (City of God) intimate story about one of the most dramatic transitions of power within the Catholic Church in the last 2,000 years, stars Jonathan Pryce as Cardinal Jorge Bergoglio and Academy Award-winning Anthony Hopkins as Pope Benedict XVI. It’s a biographical drama written by Anthony McCarten (The Theory of Everything), based on his 2017 play The Pope, and inspired by true ecclesiastical events.

The film debuted at the Telluride Film Festival last August and was also screened at the Toronto International Film Festival in September. It’s scheduled for a limited U.S. release on November 27 and opens in the U.K. on November 29. Digital screening on Netflix begins December 20. Bryce Dessner of the band The National scored the soundtrack for the film.

Behind Vatican walls, this 125-minute film in English with a variety of subtitles (Latin, Spanish, Italian, French, Portuguese and German) portrays two very different men caught up in a struggle between tradition and progress, between guilt and forgiveness – and how each confront their past in order that they may find a common theological ground amidst political turmoil in the Catholic Church in which to forge a future for more than a billion worldwide followers.

We learn of the popular Argentinian Cardinal Bergoglio, a lover of both international football and tango – the future Pope Francis – who requests permission from Pope Benedict in 2012 to retire, doubting his ability to remain a “salesman” for Catholic values. This is happening at a time when the introspective Pope Benedict is facing scandal and self-doubt. So, he summons the man who is his harshest critic – and future successor – to come to Rome “to reveal a secret that would shake the foundations of the Catholic Church.”

While the film is historic fiction and focuses on a series of serious conversations about human understanding and fallibility – and through flashbacks, we learn much about Bergoglio’s Jesuit background and how he became a beloved figure in Argentina – there are moments of humor and surprise, none better than two popes sharing a pizza and a Fanta inside the Vatican while debating the future direction of the Catholic Church. Topical social and cultural subjects such as homosexuality, abortion, divorce, sexual abuse among priests, climate change and economic inequality are discussed – sometimes heatedly – between the two pontiffs.

Looking back, it didn’t bother me that much of what we see in this relevant film – the conversations between Benedict and Francis – is purely speculative and may not have actually happened, such as one the two share in a helicopter ride together.

Pope Benedict: “What is that plant?”
Cardinal Bergoglio: ”It’s oregano. Your gardener gave it to me.”
Pope Benedict: ”You’re very popular”
Cardinal Bergoglio: ”I just try to be myself.”
Pope Benedict: ”When I try to be myself, people don’t like me very much.”

Sure, Benedict was portrayed in the film as physically ailing and tired – “I cannot play this role anymore” – unable “to hear the voice of God.” While he is shown having a cordial relationship with the younger, more energetic and thoughtful bishop throughout the film, did he really pick Cardinal Bergoglio to be his chosen successor? Probably not. However, the friendship that is forged between the two seems genuine and both Hopkins and Pryce give tremendous acting performances in their respective roles. The visual direction (think Saint Peter’s Basilica and Square) is so very beautiful and stunning, especially the staging of the papal conclaves inside the Sistine Chapel that take place in the selection of both Pope Benedict and Pope Francis.

“Being Pope, you must remember you are not God,” Hopkins reminds Pryce. “You are only human.”

As one film critic recently suggested, “Like us, our spiritual leaders can be haunted by doubt and questions of belief. But it’s our humanity and differences that bring everybody together, sometimes over a World Cup match and beer.”

Credits: Cover photo – Courtesy Netflix. Videos – Courtesy YouTube.

On film: Cuarón’s Roma is a very personal project

In Roma, Academy Award-winning director and writer Alfonso Cuarón (Gravity, Children of Men, and Y Tu Mama Tambien) has delivered an artful love letter to the women who raised him. Presented in Spanish with English subtitles, this immaculately photographed 135-minute film presented in black and white is a beautiful ode to his Mexican childhood. It draws upon Cuarón’s early life experiences growing up in a middle-class family in Mexico City’s Colonia Roma district to create both “a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.” It’s a film about resilience and survival.

As Roma begins, one critic describes its opening as “a mesmerizing four-minute credit sequence – the mopping of a courtyard – the flow of foamy water establishes a rhythm as well as a cleansing metaphor about life and memory.”

The film follows its protagonist Cleo (portrayed by first-time actress Yalitza Aparicio), a young live-in domestic helper, and captures both her devotion to Cuarón’s family as well as detailing her personal problems. She becomes the focal point of the film in what becomes a collection of childhood memories about Cuarón’s family, the house he grew up in, and his neighborhood.

As the film’s writer, Cuarón wrote the script as a stream of consciousness. So, we see a combination of personal and social issues unfold in front of us. It seemed that because Cuarón allowed his emotions to play out, some of the scenes run long without tight editing. However, as the film unfolds it becomes its strength and not a liability.

Roma is meant to make us think. It’s an art film not an entertainment movie. Because Cuarón chose to film it in black and white, we gain more intimate details – and it lends itself toward recalling memory. After all, memory can be subjective – but it can also be objective, too. There is a lot of subtlety, a touch of humor, and plenty of honesty. Several things that are foreshadowed play out later in the movie such as an earthquake, a massive fire and the Corpus Christi massacre of 1971 that is shockingly detailed and restaged by Cuarón.

Roma opens in theaters just in time for the holidays and it’s sure to gain momentum as the awards season comes into full view. It will also be released simultaneously on Netflix, which will allow the film to reach a wider audience. However, Roma is best seen on a large screen and preferably in a classic, single-screen cinema like I saw it on a recent Sunday morning in northwest Washington, D.C. Its directionality of sound is truly amazing. Recently, one critic described Roma’s sound as a “bewilderingly intricate tapestry of distant street sounds, ambient noise and close-up conversations.” It’s a film that you can definitely watch with your ears, but you’ll want to see it with your eyes, too.