The Vatican News portal reports on a new documentary, Pétros ení, produced for the 400th anniversary of the consecration of St. Peter’s Basilica. The film features the antipope Leo XIV (Robert Prevost) alongside Hollywood actor Chris Pratt, directed by Paula Ortiz and scripted by Andrea Tornielli, the editorial director of the neo-church’s propaganda apparatus. It is scheduled for a gala preview at the Rome Film Festival. This media event exposes the total collapse of the Petrine ministry into a cinematic spectacle, where the Vicar of Christ is reduced to a co-star in a documentary designed for the entertainment industry, confirming that the structures occupying the Vatican have abandoned the supernatural mission of the Church for the fleeting applause of the world.
The Usurper on the Silver Screen: Degradation of the Petrine Office
The sight of the claimant to the See of Peter appearing in the final scenes of a documentary to explain the figure of Peter is a scandal of the highest order. The Roman Pontiff, as defined by the Vatican Council (Pastor Aeternus, Chap. 3), holds full and supreme power of jurisdiction over the whole Church, not a role as a talking head in a film produced by AF Films for the Rome Film Festival. Pius XI, in Quas Primas, teaches that Christ’s Kingship demands that men, redeemed by His most precious Blood, have been subjected, as it were, to new laws of His reign and that the state must leave the same freedom to the members of Orders and Congregations… who contribute most to the expansion and establishment of Christ’s Kingdom. Here, the antipope participates in a project that subordinates the Prince of the Apostles to the narrative arcs of cinema and the celebrity of Chris Pratt.
The article states the antipope exceptionally appears in the final scenes to explain the figure of Peter and the significance of his tomb’s presence beneath the church. This language — exceptionally appears, explain the figure — treats the papacy as a celebrity cameo. The true Pope is Servus Servorum Dei, bound by the tradidi quod et accepi (I handed on what I received), not a narrator for a journey through faith, history, and archaeology curated by a Spanish filmmaker and a Vatican journalist. This is the theatrum mundi elevated above the Sancta Sanctorum. The Fabric of St. Peter and the Dicastery for Communication have transformed the Confession of the Apostle into a film set.
Hollywood Evangelization: The Cult of Celebrity Replaces the Cult of Saints
The casting of Chris Pratt as the guide for viewers on this fascinating journey through faith, history, and archaeology is a deliberate strategy of the neo-church: the democratization of the sacred through the profane. Pratt, an actor known for blockbuster franchises, is presented as a credible witness to the foundational story of the Christian faith. His quote — It was an incredible honor to collaborate with Pope Leo and the Vatican on this project — frames the interaction as a merger of equal cultural powers. This is the cult of man condemned by Pius XI in Quas Primas, where he warns that when God and Jesus Christ were removed from laws and states… the foundations of that authority were destroyed. Here, the authority of the Keys is lent to a Hollywood star to validate a media product.
The documentary is produced by AF Films, founded by Frank Ariza and Manu Vega, in collaboration with the Dicastery for Communication’s Vatican Media. This is the paramasonic structure’s modus operandi: co-opting secular media expertise to package the Faith as content. The Rome Film Festival premiere seals the bargain: the tomb of the Fisherman of Galilee is premiered like a movie trailer. There is no preaching of the Cross, no call to conversion, no denunciation of sin — only a journey. The Syllabus of Errors (Prop. 79) condemns the idea that the civil liberty of every form of worship… conduce more easily to corrupt the morals and minds of the people; here, the liberty of cinema corrupts the very presentation of the Apostolic foundation.
Archaeology as Apologetics: The Modernist Substitution of Faith by Forensics
The article heavily emphasizes archaeological discoveries, images never before captured on film, and the identification of the tomb and bones. It traces the history from Constantine to Pope Pius XII officially announced the discovery in 1950 and Pope Paul VI to announce to the world in 1968 that the bones… had also been found. This focus reveals the modernist heresy condemned by St. Pius X in Lamentabili Sane Exitu (Prop. 12): An exegete who wishes to fruitfully engage in biblical studies should especially reject any preconceived opinion about the supernatural origin of Holy Scripture, which he should interpret just like other purely human documents. The neo-church applies this rationalist method to the relics themselves: the Faith rests not on the authority of the authentic Magisterium but on convincing forensic evidence.
The quote from Montini (Paul VI) is telling: Even the relics of St. Peter… have been identified in a manner that we may consider convincing… We have reason to believe that the few, but most sacred, mortal remains of the Prince of the Apostles have been found. Convincing and reason to believe are the language of probability, not the language of Faith. The Catholic Church venerates relics by virtue of ecclesiastical tradition and the authority of the hierarchy, not because a scientific commission renders a verdict. By highlighting the 1968 announcement as a climactic moment, the documentary canonizes the false pope Montini as a legitimate authority on the Apostle’s remains. Montini, the architect of the Novus Ordo and the destroyer of the liturgy, has no standing to authenticate the bones of the first Pope. His convincing identification serves only to bolster the legitimacy of the usurping line.
The False Narrative of “Discovery”: Paul VI and the Bones of Contention
The article uncritically repeats the narrative that Pope Paul VI… announced to the world in 1968 that the bones of the Galilean fisherman… had also been found. It omits the massive scholarly controversy surrounding these bones — the lack of inscription, the commingling of remains, the removal of the bones from the loculus by the administrator Margherita Guarducci without proper chain of custody, and the dissent of the lead archaeologist, Antonio Ferrua. The neo-church suppresses this history because the discovery functions as a foundational myth for the post-conciliar establishment. It signals: We have the science, therefore we have the authority. This is naturalism pure and simple, condemned by the Syllabus (Prop. 3, 4, 9): Human reason, without any reference whatsoever to God, is the sole arbiter of truth and falsehood.
Furthermore, the article notes Pius XII strongly advocated for the excavations to begin during times of war. While Pius XII’s piety is not in question, the modernist exploitation of his initiative is. The excavations were legitimate; their weaponization by the neo-church to validate the Montinian and Bergoglian lines is the crime. The documentary presents a seamless continuity: Constantine -> Pius XII -> Paul VI -> Leo XIV. This is the hermeneutic of continuity applied to the usurpation itself. It erases the catastrophic rupture of 1958 and the subsequent apostasy.
Vatican Media: The Propaganda Arm of the Abomination of Desolation
The production credits read like a corporate merger: AF Films… in collaboration with the Dicastery for Communication’s Vatican Media and the Fabric of St. Peter. Andrea Tornielli, the writer, is the Editorial Director of the Dicastery for Communication. He is not a theologian defending the Faith; he is a journalist managing the brand. The Dicastery for Communication is the Ministry of Truth for the Church of the New Advent. Its product is not the Depositum Fidei but narrative. The article itself is a press release masquerading as news, ending with a plea for donations: Your contribution for a great mission: support us in bringing the Pope’s words into every home. Which Pope? The antipope Leo XIV. Which words? The script of a documentary.
This is the laicism Pius XI denounced in Quas Primas: the Church’s authority to teach men, to issue laws, to govern nations… was denied… the Christian religion began to be equated with other false religions and shamelessly placed in the same category. Here, the Church’s authority is equated with a streaming service. The great mission is media saturation, not the salvation of souls. The newsletter subscription link at the bottom of the Vatican News article confirms the commercial nature of the enterprise.
Silence on the Cataclysm: No Mention of the Vacant See or the Novus Ordo Apostasy
The most damning aspect of the article is its total silence on the spiritual reality of the Church in 2026. There is no mention of the Novus Ordo Missae which has replaced the Unbloody Sacrifice of Calvary with a Protestantized meal. There is no mention of the heresies of Vatican II (Dignitatis Humanae, Unitatis Redintegratio, Nostra Aetate) which the antipope Leo XIV upholds. There is no mention of the abomination of desolation standing in the holy place (Matt. 24:15). The documentary celebrates the 400th anniversary of the consecration of the Basilica (Nov 18, 1626, by Urban VIII) while the true Mass of the Ages is banned from its altars by the very men producing the film.
The article speaks of the colonnade—designed by Bernini—embraces Christendom and the entire world. It embraces a world that the neo-church has surrendered to Satan. The Syllabus (Prop. 55) condemns the separation of Church and State; the neo-church celebrates its subservience to the globalist order. The journey offered by Pratt and the antipope is a descent into the catacombs of history, avoiding the Calvary of the present where the Faith is crucified by the very occupants of the Vatican.
St. Robert Bellarmine teaches (De Romano Pontifice, Lib. 2, Cap. 30) that a manifest heretic… by that very fact ceases to be Pope and head. Robert Prevost, by adhering to the Second Vatican Council and the Novus Ordo, is a manifest heretic. His appearance in Pétros ení is not a papal act; it is the performance of a private individual usurping the Chair of Peter. The bones beneath the altar — whether they are Peter’s or not — cry out against the sacrilege above. Non praevalebunt (Matt. 16:18). The gates of hell shall not prevail, but the structures occupying the Vatican have prevailed in producing a slick, godless documentary. The faithful must reject this spectacle and cleave to the Tradition that no film festival can package and no antipope can explain.
Source:
A new documentary about St. Peter’s tomb features Pope Leo XIV (vaticannews.va)
Date: 12.10.2026