Why These 4 Classic Films Are Pope Leo XIV's Personal Favorites

In November 2025, a significant cultural revelation emerged from the Vatican as Pope Leo XIV disclosed his selection of the four most impactful films in his life. Ahead of a historic assembly with prominent figures from the global film industry, the Chicago-born pontiff identified a specific quartet of cinematic works that, in his view, best encapsulate the essence of human dignity, the weight of suffering, and the transformative power of hope.

The films selected by Pope Leo XIV are:

1. It’s a Wonderful Life (1946) – Directed by Frank Capra.
2. The Sound of Music (1965) – Directed by Robert Wise.
3. Ordinary People (1980) – Directed by Robert Redford.
4. Life Is Beautiful (1997) – Directed by Roberto Benigni.

This selection offers a profound window into the personal aesthetic and spiritual priorities of the 267th Vicar of Christ. Unlike some of his predecessors who gravitated toward the stark realism of Italian neorealism, Pope Leo XIV’s list leans toward narratives that balance emotional intensity with a deep-seated belief in the resilience of the human spirit.

The Enduring Value of a Single Life in It’s a Wonderful Life

Frank Capra’s 1946 masterpiece, It’s a Wonderful Life, stands at the pinnacle of Pope Leo XIV’s list. While often characterized today as a quintessential holiday classic, the Pope’s choice highlights the film’s much darker and more complex undercurrents—themes that resonate with his own emphasis on community and the intrinsic worth of every individual.

Exploring the Darkness and the Light

The film follows George Bailey, played by James Stewart, a man whose life is defined by self-sacrifice and the postponement of his personal dreams for the sake of his community in Bedford Falls. When financial ruin and a misunderstanding push him to the brink of despair on Christmas Eve, a guardian angel named Clarence is sent to show him what the world would have been like had he never been born.

Pope Leo XIV’s appreciation for this film likely stems from its unflinching look at the "restlessness of the heart." George Bailey is not a saint in the traditional sense; he is a man filled with frustration and a sense of failure. However, the film posits that the "wonderful" nature of life is not found in the fulfillment of grand ambitions, but in the invisible threads of kindness and service that bind a community together. In a world increasingly dominated by digital isolation, the Pope’s selection of this film serves as a reminder that "each man's life touches so many other lives."

The Theology of Presence

From a theological perspective, the film aligns with the Pope’s "Jubilee Year of Hope" message. It suggests that divine intervention often manifests through the love of others rather than spectacular miracles. The scene where the townspeople rally to save George from ruin is a cinematic depiction of the "communion of saints" in a secular setting. The Pope has noted that good cinema recognizes pain without exploiting it, and It’s a Wonderful Life manages this by acknowledging George's genuine suicidal ideation before leading him toward redemption.

Faith, Family, and Resistance in The Sound of Music

The inclusion of the 1965 musical The Sound of Music might seem traditional to some critics, but for Pope Leo XIV, the film represents a crucial intersection of joy, vocation, and moral courage. Directed by Robert Wise and starring Julie Andrews, this adaptation of the Rodgers and Hammerstein musical is more than a collection of memorable songs; it is a study in how faith informs one’s response to tyranny.

The Journey of Vocation

The character of Maria, a postulant who struggles to fit the rigid life of a cloister, mirrors a modern understanding of vocation that the Pope has often championed. Maria discovers that her service to God is not confined to the walls of the abbey but is found in her role as a governess and eventually a mother to the seven von Trapp children. This "secular holiness" is a recurring theme in Pope Leo’s teachings, suggesting that one can find God in the "ordinary" beauty of music and family life.

Courage in the Face of Evil

As the narrative shifts toward the rise of Nazism and the Anschluss, the film transitions from a lighthearted musical to a tense drama about conscience. The refusal of Captain von Trapp to serve a regime that contradicts his moral principles provides a stark example of what the Pope calls "the courage to be different." In his November 2025 address to filmmakers, the Pope urged the industry to "defend difference when it is evocative," and the von Trapp family’s escape over the Alps is the ultimate cinematic evocation of choosing freedom over complicity.

Healing the Fractured Family in Ordinary People

Perhaps the most unexpected choice on the Pope’s list is Robert Redford’s 1980 directorial debut, Ordinary People. This film departs from the uplifting tone of the first two selections, diving deep into the psychological trauma of a suburban family following the accidental death of a son.

The Anatomy of Grief

Starring Donald Sutherland, Mary Tyler Moore, and Timothy Hutton, Ordinary People is a clinical yet empathetic look at how families crumble under the weight of unspoken grief and emotional repression. The surviving son, Conrad, struggles with survivor's guilt and a suicide attempt, while his mother, Beth, maintains a facade of perfection that masks an inability to love her remaining child.

Pope Leo XIV’s selection of this film demonstrates his commitment to addressing mental health and emotional honesty within the church. The film does not offer easy answers or a religious "quick fix." Instead, it emphasizes the importance of dialogue and the painful process of breaking through emotional barriers. The Pope has stated that cinema should "articulate the questions that dwell within us," and Ordinary People does exactly that, questioning the sustainability of a life built on appearances rather than genuine connection.

The Role of the Listener

A key element of the film is the relationship between Conrad and his psychiatrist, Dr. Berger. Their sessions provide a secular parallel to the role of a spiritual director or confessor. By highlighting this film, the Pope acknowledges that the road to hope often begins with the admission of profound brokenness. It is a "workshop of hope" specifically because it shows that healing is possible, even if the family structure as once known is irrevocably changed.

Life Is Beautiful and the Power of the Human Imagination

The fourth film, Roberto Benigni’s Life Is Beautiful (1997), is perhaps the most debated inclusion. Set during the Holocaust, the film tells the story of Guido, a Jewish father who uses humor and elaborate games to protect his young son from the horrors of a Nazi concentration camp.

The Controversy of Humor and Tragedy

Critics have often argued about whether it is appropriate to use slapstick comedy and fables to depict the Shoah. Some find the film’s approach to be "existentially dishonest" in the face of such profound atrocities. However, Pope Leo XIV’s endorsement suggests a different interpretation. For the Pope, the film is not a historical documentary but a "bittersweet comic fable" about the sacrificial nature of paternal love.

Imagination as a Shield

In the Pope’s view, Guido’s actions represent a radical form of hope. By creating a fictional reality for his son, Guido is not denying the truth of the camp; he is preserving his son’s humanity and innocence in a place designed to destroy both. This "creative resistance" is something the Pope has called on artists to emulate. He noted that "the logic of algorithms tends to repeat what works, but art opens up what is possible." Life Is Beautiful is a testament to the possibility of love surviving in the most inhospitable conditions.

The Pope’s choice reinforces the idea that "beauty is an invocation." Even in the darkness of the barracks, the beauty of a father's devotion acts as a prayer and a shield. It is a film that provokes the "tears we didn't know we needed to express," a quality the Pope explicitly praised in his meeting with filmmakers.

The Vatican Cinema Meeting of 2025: A New Dialogue

The revelation of these films served as the backdrop for a historic gathering at the Vatican’s Clementine Hall in November 2025. Pope Leo XIV invited a diverse group of actors, directors, and producers to discuss the future of the medium. The guest list included stars such as Cate Blanchett, Chris Pine, Viggo Mortensen, and Dave Franco, as well as renowned directors like Spike Lee, Judd Apatow, and Giuseppe Tornatore.

Cinema as a Workshop of Hope

During the meeting, the Pope delivered a powerful address defining his vision for the arts. He described cinema as a "workshop of hope," a space where the heart becomes receptive to things not yet imagined. He challenged the industry to resist the pressure of "immediacy and predictability" and instead to embrace "slowness when it serves a purpose."

This dialogue marks a shift in the Vatican’s approach to Hollywood. Rather than focusing solely on censorship or moral condemnation, Pope Leo XIV is seeking to explore how artistic creativity can advance human values and support the "mission of the church" in a broader, more inclusive sense. By sharing his own favorite movies—works that are widely accessible and beloved by the public—he has bridged the gap between the papacy and contemporary popular culture.

The Influence of the Chicago Pope

Pope Leo XIV’s American roots are clearly reflected in his cinematic tastes. As the first Pope from the United States, his upbringing in Chicago exposed him to the classic Hollywood storytelling tradition. His brother, John, has noted that the Pope’s love for films like It’s a Wonderful Life is deeply tied to their family’s own experiences and the American values of resilience and community support. This cultural background allows the Pope to speak to a global audience using the universal language of film.

Comparison with Preceding Pontiffs

To understand the uniqueness of Pope Leo XIV’s list, it is helpful to compare it with the tastes of his predecessors.

• Pope Francis: Favored grittier, more realistic works like Federico Fellini’s La Strada and Roberto Rossellini’s Rome, Open City. His tastes leaned toward Italian neorealism, which focused on the raw struggles of the poor and the marginalized in post-war Italy.
• Pope Benedict XVI: Had a profound appreciation for classical music and theological depth, often referencing art that emphasized the "splendor of truth."
• Pope John Paul II: An actor and playwright himself, he had a deep love for the theater and films that explored the philosophical dimensions of the human person.

Pope Leo XIV’s list, while traditional in its selection of "classics," is distinct in its emphasis on emotional narrative and the redemptive power of the "fable." His choices are perhaps more "populist" than those of Francis, yet they retain a sophisticated understanding of how film functions as a mirror for the soul.

Why Cinema Matters in the Digital Age

A recurring theme in the Pope’s recent statements is the overwhelming nature of the "digital screen." In an era of constant information flow and short-form video content, the Pope views the traditional cinematic experience—sitting in darkness and silence—as a vital spiritual exercise.

He has argued that cinema is "much more than just a screen; it is an intersection of desires, memories, and questions." For the Pope, the four films he selected are examples of how light can "pierce the darkness" and how words can "meet silence." By promoting these specific titles, he is encouraging a return to long-form storytelling that requires concentration and emotional investment.

Summary of Themes in the Pope's Favorite Films

FAQ: Understanding Pope Leo XIV's Interests

What are Pope Leo XIV's favorite movies?

Pope Leo XIV has officially named four favorite films: It’s a Wonderful Life (1946), The Sound of Music (1965), Ordinary People (1980), and Life Is Beautiful (1997).

Why did the Pope choose Ordinary People?

While not explicitly a "religious" film, the Pope chose Ordinary People because of its empathetic exploration of grief, family dynamics, and the psychological healing process. He believes cinema should challenge us and address the "restlessness" in our hearts.

Who attended the 2025 Vatican meeting with the Pope?

The meeting included a wide range of Hollywood figures, such as actors Cate Blanchett, Viggo Mortensen, Chris Pine, and Dave Franco, along with directors like Spike Lee and Judd Apatow.

Does the Pope have other "favorite things" besides movies?

Yes, it has been reported that the Pope enjoys playing Wordle and Words with Friends with his brother. He also has a well-known fondness for marshmallow Peeps candies, which his brother described as his "favorite candy on earth."

Is Life Is Beautiful considered a religious movie?

The Pope views it as a "bittersweet comic fable" that illustrates the power of paternal love and hope in the face of extreme cruelty. While it depicts the Holocaust, its themes of sacrifice and protection of innocence are deeply aligned with humanistic and religious values.

Conclusion: Cinema as a Path to God

The selection of these four films by Pope Leo XIV is not merely a list of personal preferences; it is a manifesto for the role of art in the modern world. By highlighting stories of resilience, family, sacrifice, and the value of every human life, the Pope is pointing toward a "cinema of hope."

Whether it is George Bailey discovering his worth in a snowy town, Maria finding her voice in the mountains, a family beginning the long journey toward healing, or a father turning a nightmare into a game for his son, these films all share a common thread: the belief that light can indeed pierce the darkness. As the Pope stated during the 2025 Jubilee celebrations, beauty is not an escape, but an invocation—a call to recognize the mystery of God in the unfolding plot of our own lives. Through these four classics, Pope Leo XIV invites the world to step into the "darkness and silence" of the cinema and emerge with a heart more receptive to the wonders of human dignity.