Criteria: The Catholic Film Podcast CatholicCulture.org

In 1936, Pope Pius XI published his encyclical on the motion picture, Vigilanti cura. The encyclical deals with the grave moral concerns raised by the cinema, which had by then become a ubiquitous social influence (though it was also a still-evolving medium, as the transition from silent film to talkies had only recently been completed). Pius holds up for worldwide emulation the initiative that had recently taken by the American bishops to influence the motion picture industry in a moral direction, as well as to protect their own flocks from immoral movies.
Vigilanti cura was ghostwritten by the American Jesuit Fr. Daniel Lord, a prolific pamphleteer involved with Catholic Action. Fr. Lord had written the original draft of the Motion Picture Production Code, and helped to found the Legion of Decency. He had also worked in Hollywood as a consultant on Cecil B. DeMille's silent Biblical picture, The King of Kings.
This is the first of three episodes in which Thomas Mirus and Nathan Douglas survey the body of magisterial documents related to cinema, and discuss what we can take from these teachings today.
Links
Vigilanti cura https://www.vatican.va/content/pius-xi/en/encyclicals/documents/hf_p-xi_enc_29061936_vigilanti-cura.html
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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Joshua Hren, editor-in-chief of Wiseblood Books, joins the podcast to review Wildcat, the new Flannery O'Connor biopic directed by Ethan Hawke and starring Maya Hawke and Laura Linney.
The film is a respectful and nuanced portrayal of O'Connor and her faith, accomplished by extensive quotation from her prayer journal and letters, as well as several interludes depicting her short stories (which keeps the film from feeling like a formulaic biopic).
Wildcat's portrayal of the relationship between artistic ambition and faith is deeply relevant to Catholic artists. It should inspire them to find creative ways of dealing with the pressures that would subvert their God-given gifts, whether those pressures come from other Catholics, family, or the art world.
Links
List of places where you can see Wildcat (scroll down) https://wildcat.oscilloscope.net/
Wiseblood Books https://www.wisebloodbooks.com/
Catholic MFA program at the University of St. Thomas https://www.stthom.edu/Academics/School-of-Arts-and-Sciences/Division-of-Liberal-Studies/Graduate/Master-of-Fine-Arts-in-Creative-Writing
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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

The Criteria crew continue their journey through the works of today's most significant Christian filmmaker, Terrence Malick. The New World is an underrated masterpiece about Pocahontas and the founding of Jamestown in 1607. Starring the 14-year-old Q'orianka Kilcher as Pocahontas, Colin Farrell as John Smith, and Christian Bale as John Rolfe, Malick's retelling of the story remarkably combines realism and historical accuracy with poetry and romance, as all three protagonists explore not just one but multiple new worlds, geographical and interior.
With The New World, Malick definitively entered a new stage in his career, particularly in his unforgettable collaboration with cinematographer Emmanuel Lubezki. The result is an aesthetic that is humble and receptive rather than magisterial. Rather than dominating reality, the camera seems to enter into it, so that we can contemplate something the camera cannot exhaust.
James, Thomas, and Nathan discuss Malick's style extensively in this episode, and make the case for why Catholics studying or making art should not focus only on "themes" to the neglect of form, because style itself conveys a vision of reality.
Note: make sure you watch the extended cut or the 150-minute "first cut", not the theatrical cut.
This film contains brief ethnographic nudity.
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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

In occupied France during World War II, a Communist woman named Barny (Emmanuelle Riva) enters a confessional for the first time since her first Communion. She is there not to confess but to troll the priest by saying “Religion is the opiate of the people.” To her surprise, Fr. Léon Morin (Jean-Paul Belmondo) is not thrown off balance, but offers a compelling response to each of her critiques of Catholicism. Barny starts to see Fr. Morin regularly for a mix of intellectual tête-à-tête and spiritual counsel, and is gradually drawn back to the Church—but mixed in with her spiritual attraction to the Church is a romantic attraction to the man.
This, combined with subplots about the experience of wartime France, is the premise of the 1961 film Léon Morin, Priest, and it may on first summary sound like the sort of sensational and irreverent story no Catholic wants to touch with a ten-foot pole. But Fr. Morin does not break his vows. Instead, this is one of the best priest movies ever made, a realistic, tasteful (and not excessively cringe-inducing) treatment of a real problem that arises in priestly life. From the priest’s point of view, it’s a thought-provoking study of pastoral prudence; from the female protagonist’s point of view, it deals with the necessity of gradually purifying one’s motives in the course of conversion
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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Thomas and James discuss two classic Hollywood films dealing with the moral problems of overweening ambition - specifically in the context of show business. All About Eve (1950), which won six Oscars and features razor-sharp dialogue and an unforgettable performance by Bette Davis, is set in the world of the theater, while The Bad and the Beautiful (1952) is a (perhaps more honest) self-examination of Hollywood itself. The latter contains the more perceptive observations of artistic genius and its operations, which tend to subordinate everything to the work to be done. More broadly, it's a study of leadership, in both its positive and its more self-serving forms.
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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com

Continuing our trek through the filmography of Terrence Malick, the world's greatest living Christian filmmaker, we arrive at The Thin Red Line (featuring Jim Caviezel in his breakthrough role). This film came in 1998 after Malick's twenty-year hiatus from directing movies, after which he never took such a long break again.
Focused on the experiences of U.S. soldiers during the battle for Guadalcanal during World War II, The Thin Red Line is remarkable in that it features all the poetry, interiority, and dreamy aesthetics we have come to expect from Malick, while still being, in Nathan Douglas's words, "a fully functioning war movie" - conveying the physical chaos as well as the psychological sufferings and moral challenges of war - challenges of leadership, sacrifice, compassion for one's enemies, and how to meet one's death with calm and dignity.
The Thin Red Line is arguably Malick's first masterpiece - and his first film focused on metaphysical themes, or as James Majewski says, a "preamble" to the more explicit Christian faith found in his later work, using voiceover extensively to ask questions about the origins of good and evil, the unity of human experience, and most of all, how one can maintain faith in the transcendent in the midst of evil, ugliness and disorder.
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Music is The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com