Vatican News portal (November 8, 2025) announces the release of “Leo from Chicago,” a documentary produced by the “Dicastery for Communication” about the family background and early life of Robert Francis Prevost (“Leo XIV”). The film features interviews with his biological brothers and acquaintances, framing his upbringing in Dolton (Chicago) as formative for his “Augustinian vocation.” This production follows “León de Perú” about Prevost’s missionary work, both created to mark six months since his election as antipope. The documentary will be distributed globally through Vatican media channels on November 10.
Naturalistic Hagiography of a Modernist Usurper
The documentary constitutes blasphemous propaganda for the conciliar sect’s leader, crafted through the Masonic methodology condemned in Pius X’s Pascendi Dominici Gregis: “To this end they use the very most efficacious modern means… they strive… to penetrate into all departments… by means of books… newspapers…” (Pascendi 44). By focusing exclusively on Prevost’s human relationships and geographical origins, the film reduces the papacy – which by divine institution exists “ut omnium Christifidelium pastor et doctor” (CIC 1917, can. 218) – to a psychological profile. This follows the modernist playbook described in the Syllabus of Errors: “In the present day it is no longer expedient that the Catholic religion should be held as the only religion of the State” (Condemned Proposition 77), extending the same indifferentism to doctrinal matters.
Nowhere does the film address Prevost’s public heresies – his promotion of pagan worship at the Amazon Synod, denial of extra ecclesiam nulla salus in Abu Dhabi Declaration, or Pachamama idolatry – which automatically depose him from office according to canon 188.4 and Bellarmine’s doctrine: “A manifest heretic cannot be Pope or a member of the Church” (John of St. Thomas, Cursus Theologicus). Instead, the documentary peddles the conciliar sect’s fundamental heresy: that personal biography and human relationships supersede supernatural faith as the basis for ecclesiastical authority.
Sacrilegious Collaboration With Modernist Structures
The production’s partnership with “Apostolado El Sembrador Nueva Evangelización” (ESNE) exposes its diabolical disorientation. ESNE represents the “charismatic renewal” movement condemned as neo-Pentecostal infiltration by Cardinal Silvio Oddi: “This movement doesn’t come from the Holy Spirit” (L’Osservatore Romano, May 7, 1983). The Archdiocese of Chicago’s involvement completes the sacrilege, being governed by “Cardinal” Blase Cupich who publicly denies Christ’s singular mediation (USCCB Interview, 2021).
This ecumenical collaboration mocks Pius XI’s warning: “That false opinion which considers all religions to be more or less good and praiseworthy… is altogether contrary to the truth” (Mortalium Animos 2). The documentary’s trilingual release strategy follows the 1917 Fatima disinformation blueprint described in the provided file: “Stage 3 (1958-2000): Takeover of the narrative by modernists… ecumenical reinterpretation.”
Omissions That Condemn
“the documentary retracing the story, family roots, studies, and Augustinian vocation of Robert Francis Prevost”
The film’s synopsis reveals three damning omissions:
1. No mention of Catholic doctrine – Prevost’s formation occurred entirely in post-conciliar structures where, as Pius XII warned, “the deposit of faith is a useless treasure… hidden in a field” (Humani Generis 21). The “Augustinian” order referenced abandoned monastic vows for social activism decades ago.
2. Silence on Prevost’s apostasy – His documented offenses against faith include permitting “blessings” for sodomite couples (Fiducia Supplicans) and denying the necessity of conversion for salvation (2024 Bahrain address).
3. Absence of supernatural perspective – As Quas Primas teaches, “Christ has authority not only as God but as Man… He has authority over all creatures” (Pius XI). The documentary reduces religion to human sentiment, exemplifying the “cult of man” denounced at Vatican I (Dei Filius, ch.2).
Mechanics of Apostasy
Through this film, the conciliar sect employs the modernist technique condemned in Lamentabili Sane Exitu: “The pursuit of novelty in the investigation of the foundations of things leads… to the most grievous errors” (Introduction). By focusing on Prevost’s ethnic roots (“Chicago”) rather than his theological errors, the production weaponizes human respect against divine truth.
The timing – six months after Prevost’s usurpation – follows Masonic chronomancy evidenced in the Fatima file: “Symbolism of dates: 1717 (founding of Freemasonry), 1917 (apparitions), 2017 (canonization).” November 10 falls during the 11th month, numerologically significant in occult systems for representing disorder (10 + 1).
Call to Fidelity
True Catholics must reject this sacrilegious spectacle and remember Pius X’s injunction: “The true friends of the people… must especially be distinguished by their resistance to false philanthropy… and by their endeavors to preserve them from the contamination of the world” (Singulari Quadam). Rather than consuming conciliar propaganda, the faithful should meditate on Christ’s eternal kingship: “He gave him power, and glory, and a kingdom: and all peoples, tribes, and tongues shall serve him” (Daniel 7:14).
The documentary’s global distribution constitutes spiritual poison, making its viewers accomplices in the conciliar sect’s apostasy. As the Syllabus reminds us: “It is lawful to refuse obedience to legitimate princes, and even to rebel against them” (Condemned Proposition 63) – how much more must we resist pseudo-popes who subvert divine law?
Source:
"Leo from Chicago" on Pope Leo's American roots to debut November 10 (vaticannews.va)
Article date: 08.11.2025