The Two Popes

The film gives brief but direct attention to gay people and the place of women in the Church. Bergoglio uses those issues to argue that Church leaders must look beyond old rules. The film does not follow a queer character or a gender identity story, and these points stay inside the wider debate about faith and reform. The identity-driven material is real but limited.

The film criticizes Vatican secrecy, bureaucracy, and the Church’s handling of child abuse. Bergoglio says leaders moved abusive priests instead of protecting victims, and he ties old Church priorities to wider poverty and inequality. Benedict’s traditional leadership carries much of the blame, while reform and mercy receive the warmer treatment. The story still presents prayer, faith, and the Church as meaningful, so the critique is strong but not anti-Christian.

The film uses invented meetings and private talk to build a sharper conservative-versus-progressive split than the real record supports. The story also suggests that Benedict was tied to the case of abusive priest Marcial Maciel, although reporting says Benedict later acted against Maciel. Catholic critics said these choices turn Benedict into a rigid reactionary and Francis into a reforming hero. The changes strengthen a one-sided tradition-versus-progress message.

Catholic and conservative critics said the film makes Benedict a rigid villain and Francis a wise progressive hero. They objected to the film’s suggestion that Benedict was tied to the Maciel abuse case and called the story biased or propaganda. A separate X pass found real reach among Catholic commentators but no organized boycott, review-bombing campaign, or lasting online attack. The backlash was noticeable but limited.

Meirelles often makes films about poverty and inequality, but his record is not centered on identity politics. McCarten is known for biographical dramas about personal conflict and big ideas. Some producers have ties to diversity or social-justice work, while most casting staff have standard industry profiles. Meirelles and McCarten describe this film as a debate between a conservative Church and a progressive one.