Apostate Vatican Collaboration with Secularism in Benigni’s St. Peter Distortion
Vatican News portal (December 4, 2025) reports that antipope Leo XIV (Robert Prevost) met with actor Roberto Benigni to promote a monologue titled “Peter: A Man in the Wind,” produced jointly by Vatican Media and Italian state television. The article notes that Prevost praised the work as “speaking about love” after viewing excerpts, while their discussion centered on films like Benigni’s Life Is Beautiful and Capra’s It’s a Wonderful Life, alongside superficial references to St. Augustine and Dante. This event epitomizes the conciliar sect’s **systematic desacralization of divine truths** through secular entertainment.
Sacrilegious Reduction of the Prince of Apostles to Humanist Symbol
The monologue’s title—“Peter: A Man in the Wind”—immediately betrays its modernist agenda. By framing St. Peter as a mere “man” subject to earthly forces (“wind”), it denies his divine office as Vicar of Christ and the supernatural fortitude granted him by the Holy Ghost. This mirrors the heresy condemned by Pope Pius XI in Quas Primas (1925):
“When once men recognize… that Christ has been given all power in heaven and on earth… it will not be difficult for them to acknowledge that the Church… must share in His dignity according to the words: ‘He that heareth you heareth Me.’”
The true Peter, fortified by grace, walked on water (Matthew 14:29) and endured martyrdom—not as a “man in the wind,” but as the unshakable Rock upon whom Christ built His Church (Matthew 16:18). Benigni’s portrayal, endorsed by the antipope, reduces the Apostolic foundation to a naturalistic metaphor, erasing his role as custos fidei (guardian of the faith).
Dante and Augustine Weaponized for Ecumenical Syncretism
The article’s claim that the antipope and Benigni discussed Dante and St. Augustine is particularly insidious. Dante’s Divine Comedy—a rigorously Thomistic work—anathematizes the very apostasy Prevost embodies, placing corrupt pontiffs in hell (Inferno XIX). St. Augustine’s Confessions declares:
“Too late have I loved Thee, O Beauty so ancient and so new” (Confessions X.27),
affirming the exclusivity of Christ’s salvation against modern indifferentism. Yet the conciliar sect invokes these figures only to **strip them of doctrinal substance**, repackaging their works as “cultural dialogue.” This aligns with Vatican II’s Gaudium et Spes (1965), which subordinates Catholic truth to secular “values”—a heresy Pius IX condemned in the Syllabus of Errors (1864):
“The Roman Pontiff can, and ought to, reconcile himself… with modern civilization” (Error #80).
Cinematic Apostasy: “Life Is Beautiful” as Anti-Catholic Propaganda
Prevost’s admiration for Benigni’s Life Is Beautiful—a film that trivializes the Holocaust through comedic escapism—exposes the antipope’s rejection of redemptive suffering. Unlike St. Maximilian Kolbe, who offered his life at Auschwitz in imitation of Christ’s sacrifice, Benigni’s protagonist relies on human cleverness to evade tragedy. This **denial of the Cross** exemplifies the conciliar church’s abandonment of lex orandi, lex credendi (the law of prayer is the law of belief). As Pope Pius XII warned:
“The desire to reduce [the Mass] to a mere scenic representation… is a crime” (Mediator Dei, 1947).
Similarly, Capra’s It’s a Wonderful Life promotes a Pelagian worldview where human goodwill, not divine grace, achieves salvation—a heresy anathematized by the Council of Carthage (418 AD).
Vatican Media: A Tool for Masonic Subversion
The involvement of Paolo Ruffini (Prefect of the Dicastery for Communication) confirms this project as a **Masonic operation**. Ruffini, a longtime collaborator with Bergoglio, has overseen the normalization of blasphemous “art” like the 2023 “Pachamama” exhibition. By producing the monologue with state television, the conciliar sect furthers the Vatican-Masonic pact exposed by Cardinal Giuseppe Siri:
“The smoke of Satan has entered the sanctuary” (1972).
This aligns with the “False Fatima Apparitions” file’s analysis:
“Stage 3 (1958-2000): Takeover of the narrative by modernists… ecumenical reinterpretation.”
Conclusion: Apostate Structures Versus the Eternal Church
Prevost’s meeting with Benigni—like the “canonization” of John Paul II—serves to **replace Catholic dogma with emotional spectacle**. True Catholics must reject this sacrilege, recalling Pope St. Pius X’s condemnation of Modernism in Lamentabili Sane (1907):
“The Church listening cooperates… with the Church teaching” (Error #6).
The only remedy is fidelity to the true Mass and the pre-1958 Magisterium, outside the conciliar sect’s counterfeit hierarchy. As Christ warned: “Beware of false prophets who come to you in sheep’s clothing” (Matthew 7:15).
Source:
Pope meets Roberto Benigni ahead of Saint Peter monologue premiere (vaticannews.va)
Date: 04.12.2025