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If there’s one thing we’ve learned from “In Viaggio,” “The Young Pope,” and “The Two Popes” recently, it’s that being pope is pretty weird. Even when you take off your immaculate white robes; homemade Italian shoes; the kiss of strangers; and a flashy little popemobile, you end up with a guy with incredibly huge and sometimes strangely contradictory attributions.
The documentary “In Viaggio” is composed of archival photographs for nine years, from the moment Jorge Mario Bergoglio became Pope Francis in 2013. The predecessors, Pope John Paul II and Benedict XVI, had died and retired respectively with the dark cloud of the child sex abuse scandal over them, yet Pope Francis is an opportunity for the Vatican to draw a line in the sand and no longer tolerate such atrocities. . .
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The film has unprecedented access to the Pope, beginning with an intimate shot of his face and shoulders, vaulted like a sculpture of Rodin crushed by a divine charge. We are told that in his commitment to reaching those who need his help most, he visited 37 countries filming. This becomes all the more impressive when you consider the years COVID-19 has swallowed and the age of the man, now in his 80s, spends many visits hunting exhausted and limping from the speech to the diplomatic meeting. Francis is nothing yet determined, on stormy days he puts a yellow plastic sheet on his ceremonial costume to accelerate in the rain to meet the masses who love Jesus.
The film has a beautiful recurring shot, with a camera on the back of the popemobile in front of it. From one position to another, we see crowds lined up in the street and Pope Francis turning to greet crowds ranging from respect but taciturn to Beatlemania in its own right.
The film is ultimately engaging when it explores the full weight of what the Pope is facing, whether it’s climate change, war, poverty or the pandemic. It begins with a heartbreaking call to the Italian Coast Guard; a boat carrying 250 migrants tries to cross the Mediterranean when a typhoon hits and capsizes. The line is sickly silent before the screaming guy can give a location and all lives on board are lost. The Pope turns out to feel this deeply and on the verge of tears as he declares in a bad mood that this occasion is a “thorn in my heart”, where “ships instead of symbols of hope are symbols of death”. He stops, looks at the crowd, and meets all the users in the eyes. and begs compassion and that each of the users take the burden of what has meant this indifference to the suffering of our fellow men, “it is a society that has forgotten how to cry.
From country to country, the message is different, but Pope Francis, despite all the luxurious embellishments and five-star remedy he receives (including a plane flanked by fighter jets to take him to his destination) is happiest when he encounters the deficient and dispossessed. In the Philippines, he touches his forehead in prayer and fortunately kisses babies. In Mexico, he visits prisoners and turns out to give everyone some hope by bringing them together one by one, greeting them with respect as equals. in Palestine, you look at the 66-year-old refugee camps and it turns out that we are determined for a longer term when an activist says, “We are going to ask for peace. We will regain our freedom. “
In the midst of all this global turmoil, filmmakers give us a touch of black humor on their scale in america. He enters Congress to a warm state ovation and everyone seems to be on board as he begins his speech, praising American icons like Abraham. Lincoln, Martin Luther King Jr. and the politically radical American Catholic Dorothy Day. The play changes when he begins to talk about the unglorious character of war and at a time when he describes the military-industrial complex as “money soaked in blood. “you can almost hear politicians writhing in their seats.
There is no doubt that the Pope is a remarkable guy who leads his life with aplomb, oscillating wildly between motivational speeches and apology tours. He apologized to the Aboriginal Canadians for the role of the Catholic Church in their colonization. He apologized to members of the Orthodox Church because the split in 1054 meant that opportunities for cooperation were missed. Above all, he apologizes for the sexual abuse of young people of all ages and, in turn, will have to apologize when he tacitly supports an accused priest in Chile and says, “Bring me proof. “. Until then, it is slander.
This rare misstep is a desirable moment in the film because the fallibility of the type is not questioned. Making a mistake is, of course, huge, but temporarily acknowledging one’s mistake and doing everything you can to correct it is divine.
Perhaps what makes this pope another is his ability to know when he is wrong. That in the midst of the climate crisis, migrants drowning in the sea, pandemic, war and genocide, the most vital thing the pope can be is a user that The permanent message of the film is not only that the papal duties, from protecting the Armenian genocide to the verbal exchange with the International Space Station, they have the greatest magnitude and scale, but a message of hope comes with a condition. We can all, separately or collectively, see the error of our tactics and build a bigger world, as long as we don’t wait too long to do so.
“In Viaggio” premiered at the 2022 Venice Film Festival. It is lately released.
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