by Cláudio Alves 

A boy contemplates Jesus on the cross, the figure's perpetual suffering a striking sight. Because he's not been raised Christian, the youth relates more to the depicted pain than the iconography's meaning. In a show of naïve empathy that others would read as sacrilegious, he frees Christ, ripping the nails out of the cross. Whether the son of god's body tumbles a wooden fall or walks away reborn depends on the film, but the basic premise of these scenes ties Warwick Thornton's The New Boy and Marco Bellocchio's Kidnapped together. 

Both films consider historical atrocities done in the name of good, unmoored children at the center of a religious storm. Thornton sees a fictional aboriginal boy as a synecdoche for his colonized people, while the Italian master dramatizes the real-life episode of a Jewish boy taken from his family…