There is no message, nor messenger, because this is about an encounter. Echoing these liturgical words, which are heard rather frequently in Agnus Dei [+lee también:
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After being ripped away from their mother and a flock of sheep in the countryside at birth, our two very young lamb protagonists are lugged to the capital, decorated with ribbons and carried in a flower-filled basket to their new home, where they are blessed before being entrusted to their new “mother”: Sister Vincenza, a woman in her 70s, who sets them up in a shed at the back of the (superb) garden and feeds them with a bottle, a task she is clearly accustomed to, as evidenced by photographs with former residents. What is it all about? Where will these two innocent, snow-white animals end up? They grow fond of their guardian, following her every move or exploring the perimeter without permission until she finds them and gently brings them back to their "room". Meanwhile, the days repeat themselves at the monastery, in a series of unchanging activities; from cooking to church, prayers to meals, gardening to weaving and bookbinding, all to the sound of religious readings or Vatican Radio news reports detailing Pope Francis' health problems. Five months later, in the spring, we discover the final chapter of the story, the reason for the presence of these lambs, but also a completely unexpected side to Sister Vincenza...

Sacrifice, motherhood, traditions: it is a world and a tempo radically opposed to the speed and agitation of modernity, which the director (who already made a name for himself in 2021 with the Netflix feature film Caught By a Wave [+lee también:
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Agnus Dei was produced by Cinemaundici with the Biennale College Cinema and Rai Cinema. True Colours handles international sales.