Vatican News portal reports that a documentary short titled *Green Lava*, produced in collaboration with the Dicastery for Communication, will screen in Beverly Hills from September 18 to 24, 2026, to qualify for the Academy Awards. The film centers on Giacomo Mattivi, a young man with Duchenne muscular dystrophy, portraying his life of poetry, catechesis, and community engagement as a “lived Gospel.” Director Lia Beltrami calls it “a life lived in faith”; co-director Ali Aksu frames it as “purpose-driven storytelling”; Prefect Paolo Ruffini hails it as “an antidote to our clouded eyes.” Giacomo himself declares the Oscar pursuit a vehicle for “Pope Francis’ legacy” of “fraternity, community, and care for creation.” This spectacle exposes the conciliar sect’s total substitution of the supernatural order for a Masonic humanitarianism that wins worldly accolades while ignoring the Kingship of Christ and the necessity of grace for salvation.
The Dicastery for Communication as Propaganda Arm of the Anti-Church
The very structure producing this film—the “Dicastery for Communication”—is a novus ordo invention, unknown to the immutable Constitution of the Church. It functions not to proclaim Extra Ecclesiam nulla salus but to manufacture a palatable “Catholic” brand for the secular market. The article boasts of collaboration between “Vatican News, Vatican Radio, and Vatican Media—all part of the Dicastery for Communication.” This is the voice of the abomination of desolation (Matt. 24:15) occupying the Vatican, not the voice of the Bride of Christ. As Pius XI taught in Quas Primas: “The Church, established by Christ as a perfect society, demands for itself by a right belonging to it, which it cannot renounce, full freedom and independence from secular authority.” Here, the sect seeks not independence from the world but its applause, courting the Academy Awards—the high altar of the Masonic “cult of man.”
An “Antidote to Clouded Eyes” That Blinds to the Supernatural
Ruffini’s phrase—”an antidote to our clouded eyes”—is a gnostic inversion. The true antidote to spiritual blindness is the light of faith infused at Baptism and nourished by the Most Holy Sacrifice, not a cinematic narrative that reduces suffering to “creativity, listening, and openness to others.” The article speaks of Giacomo’s illness providing “a different way of looking at reality” and “meaning, which is sometimes not easy to understand.” Nowhere is the Cross named. Nowhere is suffering presented as co-redemptive, united to the Victim on Calvary. Nowhere is the necessity of the state of grace mentioned. This is the “faith” of the Modernist, condemned by St. Pius X in Lamentabili sane exitu: “Faith, as assent of the mind, is ultimately based on a sum of probabilities” (Prop. 25). The film offers a vague, immanentist “spirituality” devoid of dogma, sacraments, and the Unbloody Sacrifice of Calvary.
“Pope Francis’ Legacy” as the New Rule of Faith
Giacomo explicitly states: “I am especially happy about this, because Pope Francis’ legacy must not be lost; on the contrary, it must be carried forward.” This is the sensus fidei of the neo-church: adherence to a manifest heretic who has publicly denied the Social Kingship of Christ, promoted religious indifferentism (Abu Dhabi 2019), and blessed same-sex unions (Fiducia supplicans). The “legacy” referenced is the synthesis of all heresies (Pius X, Pascendi). The article notes Giacomo met “Pope Francis during the Jubilee of the World of Communication in 2025″—a fabricated “Jubilee” unknown to Tradition, invented to celebrate the very communications apparatus that disseminates error. As Bellarmine teaches (De Romano Pontifice), a manifest heretic “by that very fact ceases to be Pope and head.” The conciliar sect’s “Prefect” Ruffini and its “Vatican Media” are thus accomplices in the usurpation, building a counterfeit church on the foundation of a false pope.
Fraternity, Inclusion, Care for Creation: The Masonic Triad Replaces the Theological Virtues
The film’s stated themes—”fraternity, community, and care for creation,” “welcome, inclusion, and education for peace”—are the precise lexicon of Freemasonry and the United Nations, not the Catholic Church. The Syllabus of Pius IX condemns: “The Church ought to be separated from the State, and the State from the Church” (Error 55) and “In the present day it is no longer expedient that the Catholic religion should be held as the only religion of the State” (Error 77). The “Shema” association and “Casa Iride” project promote a naturalistic “peace” without the Prince of Peace. Pius XI warned in Quas Primas: “When God and Jesus Christ were removed from laws and states… the foundations of that authority were destroyed.” The film’s “message” is the gospel of the City of Man, not the City of God. It seeks “social impact” and “purpose-driven storytelling”—the language of NGOs, not the Great Commission (Matt. 28:19-20).
The Oscar Qualification: Seeking the Crown of Thorns from Caesar
Ruffini’s admission that the film is “knocking on the door of the Oscars, like an irreverent young man who ‘reveals’ to us the secret of beauty” reveals the sect’s true telos: worldly recognition. The “secret of beauty” for the Catholic is the Beauty ever ancient, ever new (St. Augustine), found in the liturgy of the True Mass and the splendor of holiness. The Oscars are the altar of the “paramasonic structure” that governs the world. By submitting *Green Lava* for “Best Documentary Short Film,” the Dicastery for Communication confesses that its metric of success is the approval of the enemies of Christ. “Woe to you when all men shall speak well of you” (Luke 6:26). The film’s premiere at the “Lumiere Music Hall in Beverly Hills” is a liturgy of the neo-church, offering incense to the idols of celebrity and secular validation.
Disability Exploited for a Christless Anthropocentrism
The tragedy of Duchenne muscular dystrophy is real; the supernatural meaning of suffering is participation in the Redemption (Col. 1:24). The article strips this mystery entirely. Giacomo’s “poetry,” “catechesis,” and “egg-selling business” are presented as autonomous goods. His brother Mattia’s death is framed as a catalyst for “openness to others,” not as a call to pray for the repose of his soul through the Holy Sacrifice. The “catechist” role is mentioned without reference to what doctrine he teaches—almost certainly the diluted, ecumenical catechesis of the conciliar sect. The “faith” on display is a horizontal solidarity, a “lived Gospel” that never names the King of Kings. As Pius XI declared: “His reign encompasses also all non-Christians, so that most truly the entire human race is subject to the authority of Jesus Christ.” The film denies this universal Kingship by silence, offering instead a “beauty” that “reclaims its space” like nature—a pantheistic immanence condemned by the Syllabus (Error 1: “God is identical with the nature of things”).
Conclusion: A Film for the “Church of the New Advent,” Not the Catholic Church
*Green Lava* is a product of the Church of the New Advent, crafted for the “Oscar qualification journey” of a sect that has abandoned the Unbloody Sacrifice for the table of assembly, the Kingship of Christ for the “fraternity” of the Masonic lodge, and the salvation of souls for “social impact.” Its screening in Beverly Hills is not a victory for the faith but a public act of apostasy, seeking the world’s praise while the true Church—the faithful who profess the integral Catholic faith led by bishops with valid sacraments—remains in the catacombs. “The world cannot hate you; but me it hateth: because I give testimony of it, that the works thereof are evil” (John 7:7). This film testifies that the works of the conciliar sect are evil, for they are of the world, and the world loves its own.
Source:
Green Lava: A young man's story on the road to the Oscars (vaticannews.va)
Date: 18.09.2026