My rules for dinner are simple: decant the wine, seat enemies far enough apart to prevent litigation, and do not betray the host to the authorities before dessert. Mauro Borrelli’s The Last Supper observes only one of those rules, yet it delivers a sincere and visually handsome account of the final days of Jesus Christ without turning Scripture into a glossy Hollywood spectacle. 

The 2025 biblical drama follows Jesus and his disciples through the events leading to the Passover meal, the betrayal by Judas and the Crucifixion. Most viewers already know how the evening ends, so Borrelli, who co-wrote the screenplay with John Collins, concentrates on the men seated around the table and the private battles taking place behind their expressions. The film gives particular attention to Peter and Judas, two disciples whose loyalty falters in very different ways. Peter fails through fear and later confronts what he has done. Judas makes a deliberate transaction and discovers, rather late in the proceedings, that thirty pieces of silver provide remarkably poor compensation for eternal infamy.