The target film, directed by Fernando Meirelles and written by Anthony McCarten, which adapts the 2017 play The Pope .
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The turning point occurs when Bergoglio, intending to resign as cardinal, instead hears Benedict’s confession. This scene subverts power—the Pope kneels before a subordinate. Cinematically, the close framing and rain-streaked windows create a liminal space where institutional hierarchy dissolves into shared guilt over the Church’s failures (the abuse crisis, silence during Argentina’s dictatorship). Here, the film suggests that personal absolution enables structural change: Benedict agrees to resign, clearing the path for Francis.
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