The New Boy

Aside from his unruly mop of blonde hair, the title character in The New Boy is noteworthy for his big, expressive eyes.

They are his primary method of communication, and the same could be said for this powerful and visually striking Australian period drama — relying on subtle glances and mannerisms as much as dialogue.

Deliberately paced yet thoughtful and evocative, the latest from Aboriginal filmmaker Warwick Thornton (Sweet Country) is the latest cinematic plea for his homeland to confront and reconcile with its racist past.

While it suffers from heavy-handed tendencies, the film scrutinizes belief systems while promoting compassion and acceptance with its heart in the right place.

Set in the 1940s, the story is told primarily from the perspective of an indigenous 9-year-old orphan (Aswan Reid) who shows up overnight at a remote monastery overseen by a rogue nun, Sister Eileen (Cate Blanchett).

Eileen has taken charge the orphanage since the death of an aged monk that she’s kept to herself. But she’s not sure what to make of the rambunctious newcomer, who doesn’t speak English and never seems to fit in with the other boys under her watch.

At first, they treat him uncomfortably like a mascot or a prop, although stern taskmaster Eileen seems to sympathize with his oppression by bureaucratic policy and systemic faith-based intolerance.

Eventually we learn that his differences extend beyond ethnicity to include special gifts that cause Eileen’s crisis of faith to coincide with the youngster’s spiritual awakening.

It’s an offbeat fable of survival and self-discovery highlighted by but picturesque Outback landscapes that enhance the sense of isolation.

Thornton’s moderately provocative screenplay mostly sidesteps “white savior” narrative tropes, even during the unsettling domestication sequences. There are awkward tonal shifts, as the director dabbles in magical realism without dwelling on broader context such as its wartime backdrop, while sometimes struggling to tie its themes together.

Richly textured performances provide emotional depth, from the understated Blanchett — again showcasing her versatility and grace — to expressive newcomer Reid, who conveys a quietly magnetic screen presence.

Like his character, the film itself is more about what’s left unsaid, as The New Boy incisively explores the inconvenient truths beneath the surface without charting an easy path to catharsis.

Not rated, 117 minutes.