Martin Scorsese is obsessed. That’s not a secret. If you’ve watched more than ten minutes of his filmography, you know the man is haunted by the same few ghosts: guilt, blood, the Italian-American identity, and the crushing weight of the Catholic Church. But recently, he’s taken a turn that caught some Hollywood insiders off guard. He isn't just making another three-hour epic about mobsters with regrets. Instead, he’s gone smaller, more intimate, and significantly more literal. The Saints Martin Scorsese is the project that finally bridges the gap between the kid who almost became a priest and the legend who became the world's most influential director.
It’s a docuseries. It lives on Fox Nation. And honestly, it’s probably the most personal thing he’s done in decades.
What Most People Get Wrong About Scorsese’s Faith
A lot of people think Scorsese’s relationship with religion ended when The Last Temptation of Christ caused a minor international scandal in 1988. They see the violence in Casino or The Departed and assume he’s a cynic. They’re wrong.
He’s a believer. Or at least, he’s someone who desperately wants to believe. You can see it in Silence (2016), a movie that basically acted as a grueling, two-and-a-half-hour prayer. But with The Saints Martin Scorsese, he’s stopped hiding behind fictional avatars like Andrew Garfield’s Father Rodrigues. He’s putting these historical figures front and center.
The show isn't some dry Sunday school lesson. Scorsese isn't interested in the "white-washed" version of holiness. He’s interested in the grit. He wants to know about the people who were tortured, the people who were outcasts, and the people who were, frankly, a little bit out of their minds.
The Lineup: Not Your Average Sunday School
The series focuses on specific figures who represent different facets of the human struggle. We’re talking about Joan of Arc, Francis of Assisi, John the Baptist, Thomas Becket, Mary Magdalene, Moses the Black, Sebastian, and Maximillian Kolbe.
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Take Moses the Black. This is a guy who was a literal bandit and a murderer before finding a path to redemption. That’s a Scorsese character if I’ve ever heard one. It’s Goodfellas in a monastery. Scorsese is fascinated by that pivot—the moment a "bad" person decides to be "good" and the agonizing difficulty of actually staying that way.
Then you have Maximillian Kolbe. He was the priest who volunteered to die in place of a stranger at Auschwitz. For a director who has spent his life filming men who kill for pride or money, examining a man who dies for a stranger is the ultimate narrative counterpoint. It’s the flip side of the coin.
Why This Project Matters Right Now
Why now? Scorsese is in his 80s. When you get to that age, you start thinking about the "after" a bit more seriously. During the press tours for Killers of the Flower Moon, he was unusually vocal about his mortality and his desire to make one more film about Jesus. The Saints Martin Scorsese feels like the research phase for that final spiritual statement.
He’s hosting it. He’s narrating it. He’s executive producing it.
The aesthetic is unmistakably his. Even though these are docudrama recreations, they don't have that cheap, cable-TV feel. They have texture. They have shadows. You can feel the influence of Margaet Bodde, his longtime collaborator and the executive director of The Film Foundation, who helped shepherd the project.
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The Fox Nation Partnership: A Strange Bedfellow?
People were confused when they heard Scorsese was teaming up with Fox Nation. It felt like a weird brand fit. But if you look at the creative freedom he was given, it makes sense. Lionsgate Alternative Television and his own Sikelia Productions needed a home that would commit to a multi-part, high-budget spiritual series. Fox Nation wanted to expand their lifestyle and prestige content. It was a marriage of convenience that actually allowed the work to be made without the typical "streaming committee" watering down the theological complexity.
Scorsese has always been a bit of an outsider, even when he’s at the center of the industry. He doesn't care about the politics of the platform as much as he cares about the reach and the resources to tell the story correctly.
The Human Side of Holiness
One thing Scorsese mentioned in a 2024 interview with The New York Times is that he grew up in a neighborhood where the church was the only place that felt safe and beautiful. But the people in the church were the same people on the streets. They were flawed.
This series leans into those flaws.
- Joan of Arc isn't just a statue; she’s a teenager who is terrified and confused.
- Francis of Assisi isn't just a guy who talks to birds; he’s a rich kid who had a total psychological break from his previous life.
- Thomas Becket is caught in a political death match with a king who used to be his best friend.
This is the "Scorsese Touch." He finds the drama in the dogma. He’s looking for the psychological truth behind the hagiography. If a saint is just a perfect being, they’re boring to him. If a saint is a mess who manages to do something transcendent? That’s a movie.
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Addressing the Critics: Is It Just Propaganda?
There’s always a risk with religious content. It can turn into "faith-based" fluff very quickly. But The Saints Martin Scorsese avoids this by sticking to the history. It uses real scholars and real historical context.
It acknowledges the brutality of the times. It doesn't shy away from the fact that the Church often behaved terribly. By focusing on the individuals—the rebels within the system—Scorsese keeps the focus on the human spirit rather than the institution. It’s an exploration of the "radical" nature of faith.
The series also benefits from the writing of Kent Jones. If you know film history, you know Kent Jones is one of the most brilliant critics and filmmakers in the business. His involvement ensures that the scripts have intellectual meat on their bones. This isn't just a series of "greatest hits" miracles. It’s an interrogation of what it means to live a life of sacrifice in a world that mostly values power.
Deep Nuance in Mary Magdalene
For example, the episode on Mary Magdalene. For centuries, she was wrongly labeled a prostitute by the church. Scorsese, who already tackled her character in Last Temptation, uses this series to look at her as the "Apostle to the Apostles." He’s correcting the record while still maintaining the emotional weight of her devotion to Jesus. It’s a nuanced take that reflects modern biblical scholarship while staying true to the director's cinematic roots.
Actionable Insights: How to Watch and What to Look For
If you’re planning on diving into this series, don't go in expecting The Wolf of Wall Street. This is a different speed. It’s contemplative.
- Watch the Moses the Black episode first. If you’re a fan of Scorsese’s crime films, this is your entry point. The themes of violence and redemption are most apparent here.
- Look at the lighting. Scorsese and his cinematographers use "Chiaroscuro"—that heavy contrast between light and dark. It’s a visual metaphor for the struggle between good and evil.
- Listen to the narration. Scorsese’s voice has a specific cadence. He’s not reading a script; he’s telling a story. Pay attention to where he sounds most excited—usually when he’s talking about a character’s internal conflict.
- Compare it to his films. After watching an episode, go back and watch Silence or Mean Streets. You’ll start to see the DNA of these saints in his fictional characters.
The Saints Martin Scorsese is more than just a TV show. It’s a 15-year-old boy from the Lower East Side finally getting to give the sermon he never got to deliver from a pulpit. It’s a master filmmaker at the end of his career looking back at the stories that shaped his moral compass. Whether you’re religious or not, the sheer craftsmanship and the raw vulnerability of Scorsese’s exploration make it essential viewing for anyone who cares about the intersection of art and belief.
To get the most out of the experience, start by researching the historical Thomas Becket or Maximillian Kolbe before watching their respective episodes. Understanding the real-world political stakes they faced makes Scorsese's cinematic interpretation much more impactful. Check out the series on Fox Nation, and keep an eye out for Scorsese’s upcoming film projects, as they will undoubtedly carry the themes he’s exploring here.