The Last Supper

"All are welcome at the table."

2025 1h 54m EN

👍

7.2

SOLID

★7.2TMDB · 69

Drama

Synopsis

Spoiler shield

In the days leading to betrayal, a gathering of disciples unravels into a web of secrets and hidden motives. As tensions simmer beneath the surface, trust is tested, and loyalty is questioned. The Last Supper becomes a night where nothing is as it seems, and every glance hides a deeper truth.

“All are welcome at the table.”

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Cast

Jamie Ward
Jesus Christ
James Oliver Wheatley
Peter
Charlie MacGechan
John
Nathalie Rapti Gomez
Mary Magdalene
James Faulkner
Caiaphas
Robert Knepper
Judas
Daniel Fathers
Joseph of Arimathea
Batoul Marie Prenant
Rachel

Credits

Behind the camera

Director: Mauro Borrelli
Writers: Mauro Borrelli, John Collins
Languages: English, Italian
Countries: United States of America

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

MONEY

Did you know

Earned back only 78% of its budget on initial theatrical — a commercial disappointment on release.

MoodPlayr · trivia#01

2 / 8

ERA

Did you know

Released last year.

MoodPlayr · trivia#02

3 / 8

WORLD

Did you know

Dialogue crosses 2 languages: English, Italian.

MoodPlayr · trivia#03

4 / 8

DIRECTOR

Did you know

Directed by Mauro Borrelli, shot by Vladislav Opelyants. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Original score by Leo Z. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#05

6 / 8

DIRECTOR

Did you know

Editor Vance Null shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#06

7 / 8

CAST

Did you know

Jamie Ward and James Oliver Wheatley and Charlie MacGechan carry the top of the cast.

MoodPlayr · trivia#07

8 / 8

FACT

Did you know

Marketing tagline: "All are welcome at the table.".

MoodPlayr · trivia#08

Cinephile deep dive

The take

Mauro Borrelli directs. Vladislav Opelyants behind the camera. Leo Z scores. Vance Null cuts. A commercial under-performer on release. Produced in United States of America. Dialogue in English, Italian.

Trivia

Things worth knowing

1Earned back only 78% of its budget on initial theatrical — a commercial disappointment on release.
2Released last year.
3Dialogue crosses 2 languages: English, Italian.
4Directed by Mauro Borrelli, shot by Vladislav Opelyants. Note their partnership — DPs and directors often return to each other across a career.
5Original score by Leo Z. Worth a dedicated listen after — most great films lose half their impact without the score.
6Editor Vance Null shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
7Jamie Ward and James Oliver Wheatley and Charlie MacGechan carry the top of the cast.
8Marketing tagline: "All are welcome at the table.".
9IMDB entry: tt32461003 — still the authoritative cross-reference for credits and trivia.
10Only 69 TMDB ratings — you're getting ahead of the curve on this one.
11Classified under 13 themes, including "apostle", "last supper", "bible", "judas".

The technical file

Cinematography: Vladislav Opelyants
Original score: Leo Z
Editing: Vance Null
Production design: Aziz Mhand
Makeup / hair: Kaoutar Achoukhane
Runtime: 114 min · 1h 54m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Budget: $8,000,000
Box office: $6,254,291
Return: 78% of budget
Original language: EN
Certification (US): PG-13
IMDB: The Last Supper (2025)

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Mauro Borrelli

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Community reviews

What people are saying

JPRetana2026-06-04
If The Last Supper (2025) were gospel, Holy Week would be much shorter. This film believes the events leading up to the Passion of Jesus would benefit from an even more compressed timeline; thus, it condenses the entry into Jerusalem, the cleansing of the Temple, and the Last Supper into what appears to be the course of a single day and night. Things begin to happen in quick succession during and after the Supper; accordingly, the movie’s pacing aligns more closely with the biblical narrative. Nonetheless, the screenplay takes a few liberties with certain characters — specifically Peter (James Oliver Wheatley), Judas (Robert Knepper), and Pontius Pilate (Sir Not-Appearing-in-this-Film). Peter is portrayed as borderline paranoid. When Jesus (Jamie Ward) sends him and John ahead of time to the venue where the Supper will take place, Peter cases the joint for a back exit, and sets up a ladder outside just in case Jesus needs to make a quick getaway. Since it’s well known that the Last Supper proceeded as planned without interruptions, Peter’s precautions will unsurprisingly come to nothing. If Peter is paranoid, Judas is schizophrenic. Both Mark and Matthew agree that Judas initiated negotiations with the high priests. Unlike the more ambiguous Mark, Matthew depicts Judas as explicitly expecting to be paid for betraying Jesus. Meanwhile, Luke and John present Judas as a victim of demonic possession. A common modern interpretation is that Judas betrayed Jesus out of frustration with the latter’s failure to lead a violent revolution against the Roman Empire. The Last Supper covers all those bases and adds a twist of its own by having Caiaphas (James Faulkner) approach Judas rather than the other way around. I know human beings are complicated and their actions can’t always be assigned a single motivation; however, earthly (greed) and political (revolution) concerns do not mesh well with a supernatural stimulus (the Devil made me do it). The film excises Pontius Pilate from the narrative, yet he’s not altogether absent: when Caiaphas is introduced, he’s washing his hands — Pilate’s most recognizable attribute. Whether by design or accident, removing the regional representative of Roman rule, while at the same time obliquely conflating him with the High Priest of Israel, and then having Caiaphas instigate Judas, has the unfortunate consequence of perpetuating the antisemitic trope of Jewish deicide. That’s a bitter cup to drink from.

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