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"You know what we're good at? Giving up on people. Pointing the finger at them. 'Forgive' doesn't mean 'forget.' It doesn't mean 'pretend nothing happened.' 'Forgive' means 'love.' Love someone despite their guilt. No matter what the guilt is."

Engaging from beginning to end, with a deeply soulful performance from Bartosz Bielenia, the young man who stumbles into impersonating a priest after getting out of juvenile detention. His character brings pragmatic, meaningful spirituality to the town, and tries to help it heal from a tragedy that not only left seven dead, but a woman ostracized. I loved the theme of forgiveness and how hard it is to truly reach this state emotionally, and how it applied to both this poor woman and the imitation priest, who were both in desperate need of it.

The film toes the line between showing religion as a positive influence - making people better individuals and a source of great comfort - and getting a few criticisms in, such as mentioning that it was just a pope along the way who thought celibacy would be a good idea, and "now it's a problem." Mostly though, it shows the power of spirituality to lift people above their baser instincts, and the best moments are those when the young priest wields this power. The scene where he leads a funeral procession down the road and we see the rich mayor washing his car is one of many of this type, and it's stirring.

As much as I liked Eliza Rycembel's performance as a young woman searching for answers in the wake of her brother's death, I wish there hadn't been a growing love between her and the young priest. The film is not without flaws but none of them are too glaring, and director Jan Komasa tells the story well, keeping it engaging from beginning to end. It's solid and one that I'd recommend.

The story in 'Corpus Christi' (2020), the film by Polish director Jan Komasa, takes place in contemporary Poland. It belongs to a category of films coming from the former communist states in Eastern Europe, which portray in various forms the religious renaissance and the growing role that national churches play in people's lives and in the social and spiritual structure of post-communist societies in these countries. At the same time, the film discusses universal issues about people's ability to forgive, about the social reintegration and spiritual recovery of those who have served their sentences for past crimes, and about those who are or may be the spiritual leaders of communities. It is a film about faith and atonement, but at the same time a brutal and quite pessimistic film. In any case, the cinematic experience is powerful.

The hero of the film is a character descended as if from Dostoevsky's novels. In him are gathered simultaneously good and evil, God and the Devil, Dr. Jekyll and Mr. Hyde, the juvenile delinquent Daniel and Father Thomas. Being released from the toxic environment of the prison where he still had time to study theology and to watch if not to officiate religious services, the young Daniel (the extraordinary Bartosz Bielenia) is assigned to a remote village in Poland but instead of working in the factory of timber he was sent to, he ends up, more or less by chance, being confused with a young priest, a recent graduate of the theological seminary. He had dreamed of becoming a priest, he had the vocation and the charisma, but he had not been able to achieve his goal due to his criminal record. He does not refuse the opportunity to assume the role of the priest at the pulpit when the local priest asks him to take his place while he treats his illness. Soon the young and unconventional 'priest' becomes the spiritual leader of a small rural community facing the specific problems of the transition period in Eastern Europe (lack of interest and especially lack of faith from the parishioners, disoriented and futureless youth seeking refuge in alcohol and drugs) but also confronted with the trauma of a car accident in which seven inhabitants of the village perished in an instant, an accident that traumatised the families and segmented the community that ostracises the widow of the alleged culprit. Gradually gaining the trust of the villagers, 'Father Thomas' enters in conflict with the local baron, the holder of the political power (he is also mayor of the village) and of the economic power (as owner of the sawmill). The threat is twofold. Thomas is bitten by his own doubts, and knows that sooner or later what in the eyes of the authorities (church, legal) is an imposture will be discovered. Will the call and good done in the name of the Lord be enough to save him?

Not being a religious person or a good connoisseur of Catholic rites, it is difficult for me to appreciate how credible the details of this story are, although I am reading that it has its origin in various real facts. Beyond the so-called technical aspects, the film asks some valid questions in any other beliefs or moral systems. Can a sinner, a murderer become a source of good, a leader or mentor of a community? Can good deeds absolve those who committed grave mistakes (sins) in the past? Does the cassock make the priest or his deeds and the way he inspires his parishioners? If there is one message to resume this film that at times manages to be sublime and emotional, and at other times pessimistic and brutal, it would be that the answers given to these questions by the legal system according to the scale of social values and even by the institution of the church are different than those that inspire faith in the hearts of those who believe. The film is very well written and produced, the story has rhythm and fluency, the cinematography is expressive. The success of 'Corpus Christi' in places where it has been seen so far is largely due to the exceptional performance of Bartosz Bielenia, an actor of great talent and intensity, who manages to render the whole complexity of the character, with his contradictions and internal fires. The merit of director Jan Komasa is that he manages to ask important questions and lets us judge and answer ourselves, the spectators. 'Corpus Christi' is full of details about church life but you don't have to be a Catholic or a believer to resonate with the dilemmas and feelings of its hero. Same as Father Thomas's sermons and words which are addressed to all the villagers, believers or not, Jan Komasa's film is addressed to all audiences.

Always disturbing but also worrying and even intermittently amusing, this drama unfurls a religious parabola that is distinctly Polish but open to everyone. Bartosz Bielenia, an actor with blazing blue eyes and the ability to be so still, it's as if he can freeze the frame on his own, stars like Daniel, a young ne'er from Warsaw who is in juvenile detention for crimes only later revealed. He was first seen watching the gate as some teenagers in a metalwork class brutalize a boy while the guard is out, but sheer luck opens another door for him. Drawn to religion but not allowed to join a seminary due to his criminal record, he travels to a rural town once he has been paroled in a sawmill to take up work. A little gray lie allows him to take the identity of the young new priest, Tomasz, that the city expects, and soon Daniel will perform mass and hear confessions, while the old resident curate will drip out in rehabilitation for a while. Around this midpoint, the movie risks sounding like an episode of Father Ted as directed by Robert Bresson, as Daniel / Tomasz gets used to being looked after by bossy matron Lidia (Aleksandra Konieczna) in luxurious new digs and gets to know the city folk. The plot takes an interesting turn when Daniel learns that the family has been traumatized by a horrific road accident and discovers an uncommon pastoral ability when he tries to help restore the battered psyches of the bereaved-many of them barely younger than himself, including the pretty teenage daughter of Lidia, Eliza (Eliza Rycembel). All the above may lead you to expect some sort of soppy redemptive course, but that's not where this film ends up, landing on a much darker, reflective note instead. The blue-tone cinematography of Piotr Sobocinski enhances the rapturous atmosphere and enhances suspense in a smartly written, disturbing job.

... that's for sure, but some are more forgiven for their immoralities than others, regardless of their affect and intent. Many stones thrown in this intense and emotional story of deceit from Poland that will exercise your own moral compass on the actions of the unrighteous.

Peter is a man with serious character defects who has been released from a juvenile facility. He finds himself at a small town Catholic church where he dons a priest's collar and becomes a beloved charismatic leading his adoring flock. The Polish Peyton Place slowly reveals its' secrets as the good "father" hears confessions from the flock and performs masses with inspiring homily's. As a lapsed Catholic, I found the film very realistic and sentimental. The lead actor is excellent and I would place it just behind "Parasite" as the best foreign language movie of 2019.

What is good and what is evil sometimes are not so clear and easy to define due to our cultural background and our moral code as society. This movie leaves us with the question; to what extent condemning evil, it's not also creating more evil?

First Hit: I liked this film because of how Bartosz Bielenia took ahold of his character, Daniel, and made me believe.

The premise is that Daniel (Bielenia) is in juvie for crimes that may have included murder. The film opens with him and others, in a small room, sawing wood with hand saws. Their instructor, who is also their guard, is imploring them to make cuts at the right angle and to use the whole blade. The set is dark with little light, and it's more the noise of the blades going back and forth that provide the tone of this initial scene.

The guard steps out, and the boys grab Daniel, pull down his pants, hold him down, while another sodomizes him. The scene is graphic and impactful because of the way Daniel deals with it - stoically. These are rough and lost young men.

A following on scene has this same group of boys standing in a room that has is set up as a chapel. Daniel is the lone altar boy, and you can see in the other boy's faces that he's a joke to them, especially after what just happened. Father Tomaz (Lukasz Simlat) comes in and gives an inspiring talk, and Daniel follows every word.

Daniel is to be released soon and will take a job in a sawmill in a distant city. He tells Father Tomaz that he wishes he could go to a seminary to become an ordained priest. Tomaz tells him because he's a felon, that will not be possible.

Looking for a place to stay after he sees the sawmill he's supposed to work at, Daniel finds a small town with a small church and goes inside. One thing leads to another, and he finds himself filling in as a Father (taking the name Father Tomaz) in this church while the resident priest is away in a detox center.

His natural compassion, boldness, and creativity help bring this small community together. He does this with inspired sermons and helping the town through a traumatic grieving process after they recently lost seven of their neighbors in a tragic accident.

The charade works until one of his old juvie nemesis tries to blackmail him.

Bielenia is amazing. The camera loves him. He just glows on the screen. He embodies this character with a real sense of authenticity, and I found myself hoping that he would never get caught masquerading as a priest. Eliza Rycembel, as Eliza, is equally wonderful. She is the first person that Daniel meets in this small town, and their relationship is engaging from the beginning. Aleksandra Konieczna, as Lidia, is excellent as the caretaker of the church's processes and premises. Barbara Kurzaj as the vilified widow who divides the town because of the actions of her former husband, is terrific. Mateusz Pacewicz wrote a powerful and inspirational screenplay. Jan Komasa captured this small Polish town realistic shots and scenes that gave this story lots of life.

Overall: This is a wonderful story that is brought to life by sublime acting and direction.

I'm going to spoil the first 10 minutes or so of the movie for you in this paragraph. I think that's okay, but if you really want to see it without ANY idea of what it's about, don't read further. I knew going into it what the premise was, and did not find my enjoyment spoiled. ALSO, this film is in POLISH with subtitles. If you don't like subtitles (and I'm amazed at the people who will give poor reviews simply because a film dared to not be in English); don't bother. This film focuses on a young man who is a convict about to be "paroled" work in a factory in a small town. Although certainly a sinful man (and it's never in doubt that he is, in fact, sinful), he's also got a religious fervor and interest. So much so, he's applied to allowed into theology school in order to become a priest. That's denied, and he's sent off to the factory. He can't bring himself to show up, and quickly finds himself taken in by the household of the town priest...they think he's a visiting priest and next thing you know, he's on the pulpit serving mass!

This is not a comedy, and despite one or two light moments, it's a pretty heavy film. The townspeople are still recovering from a local tragedy and there's lots of blame and accusation flying around. Everyone is weighted down and held back by anger, hate, fear, remorse, and more. The young "priest" takes his own approach to breaking down the misery of this town.

The movie asks some deep questions about the "work" this priest is doing. Can it be legitimate? He takes confession...but can he provide absolution? He provides words of wisdom or comfort on the pulpit; but what does it mean when the town becomes wiser and takes comfort? How are we, the viewer, supposed to feel about all this? The town needs healing, no doubt. If he's bringing it, can it be wrong? But if he's found out, what will THAT cause?

The movie also explores the faith of this very flawed young man. I found it to be one of the most rewarding looks at how faith can work in the soul of a troubled person: how it heals and how it sometimes FAILS to heal. And how faith can give you some answers, but certainly not all. I found some of the broad themes similar to what Ethan Hawke's minister grapples with in FIRST REFORMED, but CORPUS CHRISTI, in my opinion, cuts deeper and asks far more challenging questions in a more entertaining way.

The film IS entertaining. Hugely so, to me. I felt drawn in by the story and characters and by wondering how it would all end up. You grow to care about many of the characters, and even though you see that it cannot possible end well...you yearn for a Hollywood ending!

The ending of the film moves from the realm of worldly drama to become allegory. The final scenes are tough to watch and even a little difficult to understand. Certainly you'll leave the theater or hit the "stop" button with lots to talk about. It's intellectually stimulating, very human and emotional and star Bartosz Bielenia is riveting. When the religious fervor strikes him, I am reminded (I almost feel sinful saying it) of Maria Falconetti in the startling silent film THE PASSION OF JOAN. It's a great performance that elevates this film from really good to nearly great.

I'm not trying to be condescending here, but this film is not for casual viewing. It's not a "oh, well, there's nothing else on" kind of thing. Go in with your mind open (and your heart), ready to be challenged to think about how the movie makes you feel and WHY. It's not an experience I need every day when I watch movies...but boy, when I'm ready to engage at this level, CORPUS CHRISTI really fits the bill. HIGHLY recommended.

I love the story, even though I had problems to truly believe that it could've happened in real life. The main character is brilliant, the scenery of rural eastern Poland matched the atmosphere of the film. Ending is a bit disappointing but from what I understood it had to be like that.

Corpus Christi really made me think. People can be good or bad depending on the situations they are surrounded by. Daniel, the main character is completely different when he pretends to be a priest compared to when he is in jail. Yes, he must pay for what he did, but it's sad to see that he had to return to his old life after discovering a better way to live - a life he could have managed well.

The high level plot summary doesn't do justice to this film, as the complexity of the people, issues and situation cannot be simply summarised in a few sentences - they become a glib betrayal of the depth and power of this beautifully told story.

While it's set in current time Poland and its Catholic Christian background and ethos, the themes are universal and not tied to any particular belief system (or lack of any). Bartosz Bielenia is the central Daniel, who I found totally mesmerising in the wide variety of roles his life as portrayed covers. The other main roles are well handled, if at times a bit heavy handed with intentions too obvious. The settings look convincing, and the often low light suited the logic of the situation and mood. There are some violent scenes, some which I found unnecessarily graphic, detailed or long lasting, but that may be partly my sensitivity.

I think this is a fine film, telling a truth-based story I wasn't aware of with sensitivity and insight that more than justifies the length and the bit of effort subtitles require.

Daniel, a troubled young man, experiences a spiritual transformation in the detention center where he is serving a sentence, which takes him, in a certain divine way, to a small village in Poland, where he pretends to be a priest.

The social and religious criticism implicit in this film is phenomenal. The false faith, the dogmas, the hypocrisy of the supposed good followers of the divine path, everything is scrutinized in detail, in the best way possible.

We know that a movie is good when we laugh, cry and when we can be surprised, at the right time, without anything seeming forced or too melodramatic.

Bartosz Bielenia is a tremendous actor, what he does with this character is amazing.

The message at the end is that everyone deserves redemption, and as the saying goes "God writes straight with crooked lines" (being an open atheist, this phrase is not written or said very often by me), and suits perfect in this film.

Corpus Christi is a fine example of why so many people are starting to appreciate 'foreign' cinema more. It's just different from the typical hollywood films most of us are used to, but it doesn't fall victim to the "foreign films are boring and slow" trope. The pacing is great, it keeps you glued to the screen at all times, never knowing what comes next. The atmosphere is true to an Eastern European setting, so audiences who aren't from here are getting a true glimpse at it. Also, the overall idea of this movie is very unique, but also to be expected from Poland.

This Polish nominee for Best International Feature Film is a compellingly moving testament that devotion to God needs no seminary training and ordination but an embodiment of second chances, forgiveness and love for humanity, even in most grievous fortunes.

Captivating film that leaves you thinking about the questions raised by it for several days after. A must watch!

After his release from a detection center,the young man mistaken for a priest It seems to be the right way to hide his true identity Will things go, as he wishes to? Or he is gonna be exposed?

Mysteries of a prisoner, a village community, and their gradual reconciliation uncovers justice and reestablishes courage.

Screenplay........................................ 10 / 10 Acting............................................ 10 Cinematography.............................. 7 Sound................................................. 6 Editing................................................ 9 Score................................................... 6 Total.................................................... 48/60 = 8 Verdict................................................ Strongly recommend