Vatican’s “Leo from Chicago” Biopic: Propaganda for the Anti-Church
The Catholic News Agency portal reports (November 10, 2025) on the release of a documentary titled “Leo from Chicago” by the Vatican’s “Dicastery for Communication.” This production, created with the collaboration of the Archdiocese of Chicago and the “Apostolado El Sembrador Nueva Evangelización,” chronicles the life of antipope Robert Prevost (“Leo XIV”) in the United States. The film features childhood locations, family interviews (including brothers Louis Martin and John Prevost), and mundane details like pizza restaurants and baseball stadiums. It follows “Leo from Peru”—a previous documentary about Prevost’s time in South America. The release coincides with the sixth month of this antipope’s illegitimate occupation of the Roman See.
Naturalistic Canonization of a False Shepherd
This biopic embodies the radical inversion of Catholic ecclesiology perpetrated by the conciliar sect. Instead of presenting a successor of Peter who “confirmeth his brethren” (Luke 22:32) in doctrine, the documentary reduces the papacy to a human-interest story. The focus on Prevost’s family anecdotes, favorite foods, and baseball fandom constitutes a sacrilegious trivialization of the Petrine office, which St. Robert Bellarmine defines as “the supreme spiritual power instituted by Christ to govern the Church militant for the salvation of souls” (De Romano Pontifice). The film’s emphasis on Prevost’s American upbringing serves the Masonic ideal of religious nationalism condemned by Pius IX: “The Roman Pontiff cannot and should not reconcile himself and come to terms with progress, liberalism, and modern civilization” (Syllabus of Errors, Proposition 80).
Theological Vacuum and Suppression of Supernatural Reality
Nowhere does the documentary address Prevost’s adherence to modernist heresies—particularly his promotion of false ecumenism and religious indifferentism—which ipso facto exclude him from the papacy. Bellarmine’s doctrine is unequivocal: “A manifest heretic cannot be Pope… for he who is not a Christian cannot be the head of the Christian Church” (De Romano Pontifice 2:30). The film’s silence on Prevost’s theological errors is not accidental but strategic obfuscation, masking apostasy with sentimentality. This aligns with Modernist tactics condemned by St. Pius X: “They speak of the Gospel with a condescension calculated to provoke laughter… as if the Gospel were a book to be enjoyed for its literary style” (Pascendi Dominici Gregis 34).
“Leo from Chicago” shows various locations, including the Dolton neighborhood in suburban Chicago where the pope lived with his family, and features the memories and stories of the Holy Father’s brothers.
Such familial hagiography replaces the sine qua non of papal legitimacy: fidelity to the depositum fidei. Pius XII warns that “the Pope is only the guardian and interpreter of the laws of God” (Mystici Corporis 68). By omitting any evaluation of Prevost’s doctrinal positions—especially his coordination with the destruction of the sacraments through invalid rites—the documentary implicitly endorses his anti-Catholic agenda.
Collaborators in Apostasy: The “Archdiocese of Chicago” and Masonic Networks
The involvement of the Archdiocese of Chicago—a structure long compromised by liturgical abuse and doctrinal dissent—exposes the film’s true purpose: normalizing the conciliar sect’s rupture with Tradition. The collaboration with “The Sower New Evangelization Apostolate” further demonstrates the infiltration of charismatic/Masonic elements into the anti-church’s propaganda apparatus. Pius XI condemned such syncretism: “All attempts of this kind turn out to be helpful to the enemies of the Church” (Quas Primas 24). The documentary’s producers (Deborah Castellano Lubov, Salvatore Cernuzio, et al.) operate as agents of what Pope Leo XIII called “the sect of darkness” (Humanum Genus 20), crafting narratives to legitimize usurpers.
Contrast With True Papal Biographies: From Pius V to Pius XII
Authentic papal biographies—such as those of St. Pius V crushing Protestantism at Lepanto or Pius XII defending Romanitas against Nazi and Communist tyranny—emphasize defense of doctrine and martyrdom for Christ the King. This anti-papal biopic, however, glorifies mundane trivialities because Prevost’s “pontificate” lacks any supernatural dimension. As the Syllabus of Errors declares: “The Church has not the power of using force, nor has she any temporal power, direct or indirect” (Proposition 24)—a truth obliterated by the film’s portrayal of Prevost as a cultural celebrity rather than custodian of eternal truths.
Conclusion: A Weapon of Psychological Warfare
“Leo from Chicago” is not mere entertainment but psychological warfare against residual Catholic consciousness. It seeks to acclimatize souls to the anti-church’s apostasy by humanizing its false hierarchs. Faithful Catholics must recognize this production as what Pius X termed “the synthesis of all heresies” (Pascendi 39)—a tool to replace the Rex Regum with the cult of man. In Christ’s words: “By their fruits you shall know them” (Matthew 7:16). The fruit of Prevost’s “biopic” is not sanctity but surrender to the world, the flesh, and the devil.
Source:
Vatican releases ‘Leo from Chicago’ biopic (catholicnewsagency.com)
Date: 10.11.2025