In retelling the ‘old story’, it can be hard to make it feel fresh.
Let’s be serious. As one of Christianity’s most central narratives, the story of Jesus has been told innumerable times onscreen. From the silent film From the Manger to the Cross (1912) to recent streaming mega-hit The Chosen, cinema has never shied away from Scripture on screen. As a result, even though every filmmaker has their own ‘take’ on the material, seeing the story with new eyes and insight is no easy feat.
Directed by Mauro Borelli, The Last Supper also struggles at times to breathe new life into the text. As a faithful adaptation of the Biblical text, the film does feel slightly dry in moments. However, as the film shifts its central focus towards its side characters, the film comes alive.
You see, Supper isn’t as much about Jesus as it is about Jesus.
Set in the hours leading up to the Crucifixion, The Last Supper tells the story of Jesus’ (Jamie Ward) disciples as chaos begins to reign. As the group begins to convene for the Passover feast, Judas (Robert Knepper) is tempted by Caiaphas (James Faulkner) to betray his friend in order to restore order to the area. Meanwhile, dedicated as ever, Peter (James Oliver Wheatley) also seems set up to fail, allowing hidden secrets and concealed motivations to come to light.
Although Jesus remains the central character, The Last Supper spends far more time with Peter, Judas and Caiaphas than it does with their Lord. We bear witness to them as they attempt to navigate the unfolding of events on the seemingly endless night before Jesus’ crucifixion. In a unique take on the material, we get into their minds and see things from their perspective.
As such, we see the toll that it takes upon them. Seemingly dedicated, Peter still is pushed towards his own betrayal of Jesus. Caiaphas wrestles with why the people should follow such an unimpressive man. (Admittedly, Caiaphas’ turn is a moment that we haven’t seen before onscreen and feels strangely appropriate given the current political climate.) And, of course, Judas has a literal breakdown.
While other performances are fine, it’s Knepper that’s the standout in the film. One of film’s best baddies, Knepper has an ability to bring out the devil within his characters yet still make them likable. This trait works well for his portrayal of Judas as we see the relationship that he has with Christ. The reason that his betrayal is so devastating is that it comes with years of trust built between them. And Knepper brings that into the character as he moves towards (and away from) those fateful thirty pieces of silver.
As such, The Last Supper manages to emphasize the impact that the life of Jesus had upon his followers instead of focusing upon his life. In fact, (Um… Spoiler alert?) the Resurrection isn’t even shown onscreen. But that also adds to the film’s text. Moments such as Judas’ betrayal and Peter’s reinstitution carry greater weight because Supper portrays them as real people. (Though it’s also fair to say that Judas’ hallucinations don’t exactly feel grounded in reality.)
In doing so, The Last Supper emphasizes the life of Jesus as a redemptive force. Through his relationship with his disciples, Jesus offered hope and new life. But, around the table at the Last Supper, the cracks of his most devoted begin to appear. The disciples have always been a ragtag group of misfits but Borelli lets them show their flaws.
In the end, The Last Supper never feels like the definitive cinematic version of the darkest night of the Christian faith. However, it does bring new perspectives to the events that helps them feel relevant. And, for a retelling of a story that is certainly not the Last, that’s often the best case scenario.
The Last Supper is available in theatres on Friday, March 14th, 2025.
