The EWTN News portal — a principal organ of the conciliar sect’s propaganda apparatus — reports on the launch of “The Francis Chronicles,” a 3D animated musical trilogy produced by Cantiva Studios in Singapore. The project, spearheaded by director Benjamin Tanaka, executive producer Gabriel Patrick, and composer Ethan Hsu, explicitly invokes the authority of the usurper “Pope” Leo XIV (Robert Prevost), citing his fictitious encyclical Magnifica Humanitas and a fabricated “Jubilee Year of St. Francis of Assisi” as its impetus. Collaborating with the conciliar “Custody of St. Anthony,” the filmmakers boast of rejecting Artificial Intelligence in favor of “human craft,” framing this decision as a response to the antipope’s call for the “dignity of human labor.” St. Francis is reduced to a “symbol of simplicity, peace, and care for creation,” explicitly aligned with the pantheistic errors of Bergoglio’s Laudato Si’. The production seeks funding via a global Kickstarter campaign. This enterprise manifests the total substitution of the supernatural mission of the Church by a naturalistic, commercialized spectacle serving the paramasonic narrative of integral ecology and false humanism.
The Fabrication of Authority: Antipopes and Invented Jubilees
The entire edifice of this project rests upon the usurped authority of manifest heretics. The article references “Pope Francis’ visit to Singapore in September 2024” and the theme song “One Church, One People” composed for that occasion. Jorge Bergoglio, a public heretic who denies the Social Kingship of Christ, promotes religious indifferentism (Abu Dhabi Declaration), and blesses pseudo-sacramental unions of sodomites (Fiducia Supplicans), ceased to be a member of the Church ipso facto by his manifest heresy, and therefore could not hold the papal office. As St. Robert Bellarmine teaches: “A manifest heretic cannot be Pope… he cannot be the head of something of which he is not a member” (De Romano Pontifice, II, 30). His “visit” was the visitation of a wolf in sheep’s clothing; the theme song was an anthem for the ecclesia adversarii.
The project now pivots to the next usurper, Robert Prevost (“Leo XIV”). The article credits his “first encyclical, Magnifica Humanitas, released in May” and his declaration of a “Jubilee Year of St. Francis of Assisi.” No such encyclical exists in the Catholic Church; no such Jubilee can be convoked by a layman occupying the Vatican palaces. Pope Paul IV’s Bull Cum ex Apostolatus Officio declares unequivocally that if a Cardinal or Roman Pontiff “has defected from the Catholic Faith or fallen into some heresy… his promotion or elevation… shall be null, void, and of no effect.” Prevost, a lifelong member of the conciliar sect, formed in its errors, manifestly professes the heresies of Vatican II (religious liberty, ecumenism, collegiality). His “encyclicals” and “Jubilees” are the acts of a private individual, devoid of any canonical or divine efficacy. To build a “Catholic” project upon these shifting sands is to build upon the abomination of desolation spoken of by Daniel the prophet.
Reduction of the Seraphic Saint to an Eco-Mascot
The article defines St. Francis solely as “an enduring symbol of simplicity, peace, and care for creation — echoed in Pope Francis’ second encyclical, Laudato Si'”. This is a theological falsification of the most diabolical order. St. Francis of Assisi was the Alter Christus, the Herald of the Great King, who received the Stigmata — the very wounds of Christ Crucified — as the seal of his perfect conformity to the Victim of Calvary. He founded the Order of Friars Minor upon holy poverty as a means to imitate the naked Christ on the Cross, not as a sociological program for “sustainability.” He preached penance and conversion to the Saracens, risking martyrdom for the salus animarum. He rebuilt the Church materially and spiritually in obedience to the true Pope Innocent III.
The conciliar narrative, echoed by the “Friars” Derrick Yap and John-Paul Tan of the “Custody of St. Anthony,” strips the Saint of his cruciform identity. Friar Yap’s hope that “the eyes of the world be opened to the beauty of creation and come to see it as St. Francis did: Brother Sun, Sister Moon…” cites the Canticle of the Creatures but severs it from its theological root: the praise of the Creator through creation, not the divinization of creation itself. This is the pantheistic naturalism condemned by St. Pius X in Pascendi Dominici Gregis and the Syllabus of Pius IX (Error #3: “Human reason… is the sole arbiter of truth… it is law to itself”). The “Franciscans” cited are members of a religious institute that has abandoned the traditional habit, the traditional liturgy, and the traditional vow of obedience to the true Magisterium, having submitted to the conciliar revolution. Their “research assistance” guarantees only the perpetuation of the modernist caricature.
“Human Craft” as Pelagian Idolatry
The central boast of the producers is the rejection of AI in favor of “human-crafted movies” offering “the greatest range and freedom of authentic expression.” Tanaka credits “Pope Leo XIV’s timely reminder of ensuring the dignity of human labor.” This rhetoric reveals the anthropocentric inversion at the heart of the conciliar sect. The dignity of human labor derives not from “authentic expression” or “freedom,” but from its ordination to the glory of God (Ad Majorem Dei Gloriam) and the imitation of Christ the Worker in Nazareth. Pius XI, in Quas Primas, teaches that “Christ reigns in the minds of men… because He Himself is Truth… He reigns also in the wills of men… because He inclines our free will and conquers it with His inspiration.” Labor divorced from the Kingship of Christ and the sacramental economy is mere opus humanum, incapable of meriting grace.
The filmmakers’ pride — “We are proud to be making this animated musical in the most human way possible” — is the pride of the Tower of Babel. They have replaced gratia with ars, the Unbloody Sacrifice of Calvary with a “musical trilogy,” the Cross with “Brother Fire.” The consultation with conciliar friars, the Kickstarter campaign (mammon), the targeting of “families with young children” (demographic marketing) — all scream homo economicus and homo faber, not homo viator seeking the Patria. As the Syllabus condemns (Error #58): “No other forces are to be recognized except those which reside in matter, and all the rectitude and excellence of morality ought to be placed in the accumulation and increase of riches by every possible means, and the gratification of pleasure.” This project is a commercial venture draped in a stolen halo.
The Liturgical and Sacramental Vacuum
Nowhere in the article — nor, by necessary implication, in the project’s conception — is there mention of the Holy Sacrifice of the Mass, the Divine Office, the Sacrament of Penance, the Eucharistic Real Presence, or the Priesthood. St. Francis lived the liturgia; his life was a continuous hostia viva. The “Franciscan movement” depicted in the planned second film — “the founding and growth” — will inevitably portray the Order’s origin as a humanistic social movement, ignoring the Regula Bullata approved by Honorius III, the Cardinal Protector Ugolino, the strict orthodoxy enforced against the Fraticelli. The third film, covering the Stigmata, risks presenting this supreme mystical grace as a mere “historical first” or a dramatic visual effect for 3D animation, devoid of its meaning: conformitas ad Christum crucifixum.
The article notes the film is “designed for theatrical and streaming audiences beyond Singapore.” This is the missio ad gentes of the antichurch: entertainment replacing evangelization. Pius XI in Quas Primas warns: “When God and Jesus Christ… were removed from laws and states… the foundations of that authority were destroyed… the entire human society had to be shaken.” A film about St. Francis that ignores his God, his Mass, his Cross, and his obedience to the true Vicar of Christ does not evangelize; it inoculates the viewer against the true Faith by offering a vaccinated, harmless, sentimentalized substitute. It is the opium of the people manufactured by the paramasonic structure occupying Rome.
Symptomatic Diagnosis: The Fruit of the Conciliar Revolution
This project is the logical and necessary fruit of Vatican II. The “hermeneutic of continuity” claimed by pseudo-traditionalists is shattered by the very existence of Cantiva Studios. The Gaudium et Spes anthropology (man as the center), the Sacrosanctum Concilium liturgical deformation (active participation as external activity), the Nostra Aetate indifferentism (Francis as interreligious icon), and the Dignitatis Humanae religious liberty (Kickstarter, commercial freedom) converge here. The “Franciscans” collaborating are the guardians of the new pentecost — a pentecost of confusion.
The rejection of AI is a red herring, a moralistic therapeutic deism gesture. Whether pixels are arranged by algorithm or by a human hand paid by Kickstarter funds matters not if the finalis causa is not the Honor et Gloria Dei. The “dignity of human labor” invoked from the mouth of an antipope is the dignity of the homo autonomus, the Masonic ideal. St. Pius X condemned in Lamentabili Sane Exitu (Prop. 59): “Christ did not proclaim any specific, all-encompassing doctrine suitable for all times and peoples, but rather initiated a certain religious movement…” “The Francis Chronicles” is precisely this: a religious movement, a brand, a franchise, initiated by men for men, using the name of a Saint they do not know and a Church they do not belong to.
Conclusion: Non Praevalebunt
The true Church of Christ, una, sancta, catholica, et apostolica, subsists in the bishops and priests who retain the true Sacraments, the true Mass of the Ages, and the unbroken Magisterium prior to 1958. She does not need animated musicals, Kickstarter campaigns, or the approval of usurpers in the Vatican to proclaim the glory of St. Francis. She proclaims it daily in the Missa Solemnis on his feast (October 4), in the Officium of the Stigmata (September 17), in the rigorous observance of the Rule by true Franciscans who have not betrayed their Father. The gates of hell shall not prevail against Her (Non praevalebunt). This Singaporean spectacle, for all its “human craft,” is dust and ashes — vanitas vanitatum — destined for the fire that tries every man’s work (1 Cor 3:13). Let the faithful flee from this counterfeit piety and cleave to the Tradition that alone transmits the Life.
Source:
Filmmakers bet on human craft over AI for animated St. Francis musical (ewtnnews.com)
Date: 12.09.2026