The EWTN News portal reports that the structures occupying the Vatican have produced a documentary titled “Green Lava” chronicling Giacomo Mattivi, a young Italian suffering from Duchenne muscular dystrophy, and are actively campaigning for an Academy Award nomination. The film, directed by Lia Beltrami and Ali Aksu, portrays Mattivi’s physical decline and his family’s reliance on “faith and family” to persevere, culminating in a meeting with the usurper “Pope” Francis. This enterprise marks the first time the conciliar sect has officially entered the Oscar competition. This pursuit of Hollywood validation exposes the neo-church’s total inversion of the Church’s mission: it seeks the applause of a Godless world rather than the salvation of souls through the Cross of Christ.
The World as Judge: Non Est Potestas Nisi a Deo
The very premise of the conciliar sect submitting a film to the Academy Awards constitutes a scandalous submission to the spiritus mundi. The Oscars are the liturgy of the secular city, a ritual where the world crowns its own idols. By seeking a nomination, the Vatican II sect implicitly acknowledges the competence of a Masonic-Hollywood tribunal to judge the worth of its “message.” There is no authority but from God (Non est potestas nisi a Deo, Rom 13:1); to seek validation from the enemies of the Cross is to deny the Kingship of Christ over all nations, a truth Pius XI solemnly proclaimed in Quas Primas: “When God and Jesus Christ were removed from laws and states… the foundations of that authority were destroyed.” The conciliar sect does not proclaim Christ the King to Hollywood; it begs Hollywood for a statuette.
Reduction of the Supernatural to Naturalistic Resilience
The article frames Mattivi’s story as a testament to “hope” and “perseverance” fueled by “faith and family.” This is the language of Pelagian self-help, not Catholic theology. The word “faith” is stripped of its dogmatic content — no mention of the Holy Sacrifice of the Mass, the Rosary, the intercession of the Mediatrix of All Graces, the necessity of the state of sanctifying grace, or the Four Last Things. The documentary presents suffering as a challenge to be managed by human resilience and vague spirituality, not as a participation in the Redemptive Suffering of the Divine Victim. St. Paul teaches: Compleo in carne mea quae desunt passionum Christi (I fill up in my flesh what is lacking in the sufferings of Christ, Col 1:24). The neo-church replaces this sublime mystery with a therapeutic narrative of “not letting oneself be defeated.” This is the laicism Pius XI condemned: “the denial of Christ the Lord’s reign over all nations… the Christian religion began to be equated with other false religions.”
The Title “Green Lava”: Pagan Pantheism Masquerading as Poetry
The director explains the title: “For Giacomo, the green of the pines is an essential pillar of his life, while the lava represents the force of a volcano. He feels like a volcano and needs that lava to remain forever alive, never to petrify.” This is rank pantheism. Identity is not preserved by “volcanic force” but by gratia sanctificans. The imagery of “lava” and “volcano” evokes a immanent, naturalistic vitalism utterly foreign to the vita nova of Baptism. The Sylabus of Pius IX condemns the proposition: “Divine revelation is imperfect… corresponding with the advancement of human reason” (Error 5). Here, revelation is replaced by geological metaphor. The “Green Lava” is the religion of the neo-church: a syncretistic slurry of nature-worship and self-actualization.
Silence on the Sacraments: The Gravest Accusation
The article mentions a meeting with “Pope” Francis but is utterly silent on the Sacraments. No mention of Extreme Unction for the dying brother, no mention of the Holy Viaticum for Giacomo, no mention of the Traditional Latin Mass as the source of all grace. In the true Church, the sick are anointed in articulo mortis; in the conciliar sect, they are filmed for documentaries. The Council of Trent anathematizes those who deny the Sacraments are necessary for salvation (Sess. VII, Can. 4). The omission is not accidental; it is systemic. The neo-church cannot speak of the Sacraments because its “clergy” — invalidly ordained in the Novus Ordo rite of Paul VI — cannot confect them. The “faith” on display is a hollow shell, sine re.
EWTN: The Propaganda Arm of the Abomination of Desolation
The article originates from EWTN News, the media network founded by the modernist “Mother” Angelica, a darling of the conciliar establishment. EWTN functions as the Pravda of the neo-church, sanitizing the apostasy of the “popes” from John XXIII to Leo XIV (Prevost). Its “Spanish-language sister service ACI Prensa” disseminates this Oscar-campaign puff piece to the Spanish-speaking world. EWTN is not a Catholic apostolate; it is a mechanism for manufacturing consent for the Great Apostasy. It promotes the “canonizations” of heretics (John Paul II, John XXIII, Paul VI), the false apparitions of Fatima (exposed as a Masonic psychological operation in the theological literature), and the charismatic movement. Its coverage of this documentary is not journalism; it is hagiography for a false church.
The “Family” Idol: Domestic Church or Bourgeois Refuge?
The article exalts “family” as the bulwark against suffering. While the family is the domestica ecclesia, in the neo-church it has become an idol substituting for the Ecclesia Militans. The Syllabus condemns the error: “The civil government… has a right to an indirect negative power over religious affairs” (Error 41). Today, the neo-church surrenders the family to the state — “gender” ideology, divorce, contraception — while producing feel-good documentaries about “resilience.” True Catholic families are formed at the altar rail, not on the red carpet. The Mattivi family’s suffering deserves the true consolations of the Church: the Traditional Mass, the Gregorian chant, the certainty of Purgatory and Heaven. They are given a film crew and a meeting with an antipope.
The Oscar Campaign: Vanitas Vanitatum
The screening at the Lumiere Music Hall in Beverly Hills (Sept 18–24) is a deliberate act of simulatio. The production company “Emotions to Generate Change” — a name redolent of NGO-speak and emotional manipulation — reveals the modernist methodology: manufacture sentiment, bypass the intellect, ignore the soul. St. Pius X in Lamentabili Sane Exitu condemned the Modernist error: “The dogmas of faith should be understood according to their practical function, i.e., as binding in action, rather than as principles of belief” (Error 26). This documentary is pragmatism incarnate: it “works” to generate “hope,” therefore it is “true.” The Oscar bid is the ultimate pragmatic act — success in the world’s eyes validates the enterprise.
Sedevacantist Certainty: The Only Anchor in the Storm
From the perspective of integral Catholic faith, the only coherent response to Giacomo Mattivi’s suffering is the theology of the Cross as taught by the immutable Magisterium. A manifest heretic cannot be Pope (Bellarmine, De Romano Pontifice); the line of usurpers from John XXIII to Leo XIV has severed the Vatican from the Church. The true Church endures in the catacombs, in the chapels where the Mass of Pius V is offered, where the sick are anointed with valid oils by valid priests, where the Rosary is prayed for the conversion of Russia (not the Masonic “consecration” of Fatima), and where the faithful await the Parousia not with Oscar campaigns but with timor Domini. The conciliar sect’s documentary is a signum contradictionis — but the contradiction is between the neo-church and Christ. Quas Primas declares: “His reign encompasses also all non-Christians, so that most truly the entire human race is subject to the authority of Jesus Christ.” The Vatican’s Oscar bid is a rebellion against that authority. Let the dead bury their dead; the true Church prays, suffers, and reigns with Christ the King.
Source:
Vatican aims for an Oscar with the story of Giacomo Mattivi (ewtnnews.com)
Date: 28.09.2026