MIKHA’EL (2021) is the first award-winning and historically-accurate feature documentary about the Archangel Michael in cinema. Featuring a large ensemble cast with multiple story lines, the film explores Mikha’El’s ongoing and jaw-dropping exploits around the world particularly as Taxiarchis Panormitis, the Angel of Mount Zion and the Archangel of Monte Gargano. It also looks at the unusual discovery of the Panormitis icon by a hearing-impaired Greek Jew. Languages include English, Greek, Hebrew, Italian, and Latin. MIKHA’EL was shot on location in France, Greece, Italy, Jerusalem, Malta, Poland, Ukraine, and the USA.
The film will be available after its festival run. Learn more here.
Winner European Best Documentary Award | Brittany International Film Festival
Winner Best Director | L’Age D’Or International Arthouse Film Festival
Winner Best Director | Great Message International Film Festival
Winner Best Score | 2021 Tracks Music Awards
Outstanding Achievement Award Best Documentary / Best Film Score | L’Age D’Or International Arthouse Film Festival
Honorable Mention Feature Documentary | New York Movie Awards
The Stone of the Anointing can be found inside the main entrance to the Basilica of the Holy Sepulcher, Jerusalem. It was placed there after the reconstruction of the church had been finished in 1810 (Murphy-O’Connor, 1998).
According to tradition, the slab of reddish Stone is located in commemoration on the spot where Saint Joseph of Arimathea had prepared the Body of Jesus Christ for burial (See the Holy Land, 2017). It belongs conjointly to the Armenian Orthodox, the Roman Catholics and the Greek Orthodox that are at the Sepulcher, all of whom were indicated as primary custodians of the church in the firman of the Ottoman Sultan, Osman III, in 1863 (ibid.; Morio, 2014). Above is a photograph of a relic from the Stone of the Anointing in a sealed hand-carved, gilt-bronze reliquary that comes from the Custodian Franciscans serving the Holy Land.
The Holy Sepulcher
The Holy Sepulcher is the tomb where Christ was buried for three days before His Resurrection. It is located 295 feet (90 meters) northwest of Golgotha. The tomb had been provided for the burial of Christ by Saint Joseph of Arimathea, a member of the Sanhedrin who had quietly disagreed with their condemnation of the Savior.
The tomb, which has a bed of limestone (Romey, 2016; Pells, 2016) upon which the Body of Christ had been placed, is enclosed inside the Kouvouklion, a small chapel that is located in the Aedicule of the Basilica of the Holy Sepulcher. The bed had been covered for centuries by a marble slab with a cross on it, which had been reportedly engraved by the Crusaders. Above is a photograph of a small stone from the Holy Sepulcher in the same sealed bronze reliquary that comes from the Custodian Franciscans in Jerusalem.
The Burial Shroud is a linen cloth of 14 feet 5 inches long by 3 feet 7 inches wide (4.4 x 1.1 meters). Imprinted on it is the negative image of the Body of Jesus Christ (Adler, 2002), which had resulted after the Savior was wrapped in it for His entombment after the Crucifixion.
The Shroud is known to have been in the possession of the Byzantine emperors until the Sack of Constantinople, which occurred in April 1204 (Poulle, 2009). Boniface I and his chief counselor, Othon de la Roche, took the Shroud from the Church of Saint Mary of Blachernae together with other relics and kept them in Athens (Anon., n. d.; Legrand, 1982; Piana, 2014; Rinaldi, 1983; Villehardouin, 2007). But after that no mention of it has been reliably documented for another two centuries.
The knight, Geoffroy I de Charny, and his wife, Jeanne de Vergy, were noted as the new owners of the Shroud in the 14th century, where it was preserved from 1360 to 1389 at Monfort-en-Auxois. Their great-granddaughter, Marguerite de Charny, gave the Shroud to Louis I of the Casa di Savoiain 1453 (Chevalier, 1900; Dubarle, 1993), in exchange for the castle of Varambon and monetary assets. The Savoyards in turn presented it to the Holy See in 1983.
The Shroud is woven in a 3-to-1 herringbone twill pattern made of flax fibrils. The negative image imprinted on it has been described as that of
A front and back view of a naked man with his hands folded across his groin. The two views are aligned along the midplane of the body and point in opposite directions. The front and back views of the head nearly meet at the middle of the cloth (ibid.).
The burial cloth of Christ can be found enclosed in a bullet-proof glass case at the Cappella della Sacra Sindone in Turin, Italy. This chapel had been built in the 17th century by Carlo Emmanuele II to house the sacred relic.
Above is a photograph of a single thread from the Shroud in a sealed reliquary that comes from the Augustinians. A limited number of relics of the Shroud had been distributed to Catholic bishops around the world after a drop of molten silver from a fire had damaged a small part of it in 1532, while at the Sainte Chapelle in Chambéry, France (Cruz, 1984).
 The culmination of the Fourth Crusade, which is considered a major victory and turning point in medieval history.
 Marchese di Monferrato and King of Thessaloniki. Boniface was one of the knight-commanders of the Fourth Crusade.
 Baron of Ray-sur-Saõne and the first Frankish Lord of Athens.
 Chambéry was the capital of the Savoy region at the time. After the fire, Emmanuele Filiberto, the current Duke of Savoy, ordered that the Shroud be translated to Turin where it has remained since 1578. The coffer in which it traveled can also be seen (Piana, 2014).
Relics of the true effigy of the Holy Face originate with the 19th century miracle that had occurred with the Veil of Veronica kept at the Basilica di San Pietro, Vatican City (Cruz, 2015). The Veil, which the pious woman had given to Jesus Christ at the top of the steep hill located between al-Wad Road and the Souq Khan al-Zeit (Sacred Destinations, 2019), so that He could wipe away the Blood and sweat pouring down His Face while carrying the Cross, had been taken to Rome by Saint Veronica herself during the reign of the Emperor Tiberius.
In 1849, during the revolution that had occurred at the time of Saint Pius IX, the Veil of Veronica was on display for veneration after Vespers on the 5th Sunday in Lent (Cruz, 2015). All of a sudden, it was transfigured in front of everyone present. The Face of Christ appeared as though it was lifelike. It was also surrounded with a halo of soft golden light, while the Veil itself glowed with the divine light in front of everyone present.
The miracle lasted for three hours and one the Canons of Saint Peter was ordered by the Pope to draw the Holy Face as it had appeared transfigured in order to preserve it for posterity (For All the Saints, 2009). Saint Pius IX also ordered that the Canon’s drawing of the Holy Face be engraved as an effigy onto linen cloths that would be touched to the original Veil of Veronica, a relic of the True Cross and the tip of the spear of Longinus, making them precious relics in themselves, not just devotional images (Archconfraternity of the Holy Face, 1887). These effigies were to bear the official wax seal of a Cardinal of the Catholic Church and imprinted with the textual description:
VERA EFFIGIES SACRI VULTUS DOMINI NOSTRI JESU CHRISTI
The true effigies of the Holy Face are known to have been distributed for a period of about 75 years. Above is a photograph of the effigy of the Holy Face that comes from Rome.
 One of the few images of the Holy Face not made by human hands (Cannuli, 2014).
 Originally named Seraphia (Doyle, 2000) and commonly known as the pious woman, she became identified as Veronica in the apocryphal Gospel of Nicodemus (Reid, 1913), because of the imprint of His Face that Christ had left on her Veil in gratitude for her merciful gesture.
 Tiberius was the Roman Emperor from 14 AD to 37 AD.
UPDATE: The Crown of Thorns that was held at Notre Dame, together with other precious relics, is presently being held at the Louvre after the conflagration that occurred on April 16, 2019 at the Cathedral.
The ring of canes that makes up the base of the Crown of Thorns worn by Jesus Christ during the Passion can now be found at the Cathédrale Notre Dame de Paris (2010). Its diameter is 8.5 inches (21cm). The Crown was carried to France from Venice by two Dominican friars in August 1239 and eventually placed in the Sainte-Chapelle, after Saint Louis IX had redeemed it for 13,134 gold ducats from Baldwin II, the Emperor of Constantinople.
Baldwin had pawned the Crown of Thorns as security with a Venetian bank for the money he needed to borrow, to support his crumbling empire. The Crown had been housed in the Basilica of Hagia Zion in Jerusalem since 409, until it was translated to Constantinople during the Crusades. The Crown had been braided from the rushes of the Juncus balticus, while the thorns attached to it by the Roman soldiers were from the Ziziphus spina-christi.
Numerous thorns have been splintered off from the Crown throughout the centuries and distributed widely around the world. More notable are those held at Saint Michael’s Church, in Ghent, Belgium; the Cathedral of Saint Vitus in Prague, Czech Republic; the Cathedral of Trier, Germany; the Basilica della Santa Croce in Gerusalemme, Rome, Italy; the Cathedral of Oviedo, Spain; the British Museum, England; and Saint Anthony’s Chapel in Pittsburgh, Pennsylvania, United States of America (Gazetteer of Relics and Miraculous Images, 2009). Above is a photograph of a relic from the Crown of Thorns in a sealed reliquary that comes from the Augustinians.
 The Sainte-Chapelle was built specifically by Saint Louis IX to house the Crown of Thorns and 28 other relics he had received from Baldwin II.
 Baltic rush taken from the Jucaceae perennial flowering plant native to Northern Britain, the Baltic and Scandinavia.
 Christ’s thorn jujube, an evergreen plant native to Africa, the Middle East, Southern and Western Asia.
Before crowning Him with thorns after the Scourging at the Pillar, at the order of Herod Antipas, the Roman soldiers at the court forced Jesus Christ to wear a purple robe in mockery of His kingship of the Jews (Lk 23:6-12). The soldiers then stripped Christ of this robe after Pontius Pilate had presented Him to the mob (Jn 19:5) and made Him put back on His seamless garment to carry the Cross. Above is a photograph of a very rare relic of the Purple Robe in a sealed reliquary that comes from the Augustinians.
 Purple was at the time considered to be the color worn by kings.
 The seamless garment had been woven for Christ by the Virgin Mary.
The column of flagellation to which Christ had been tied during the Scourging at the Pillar was made of marble (McNeely, 2015). Part of the column remained at the Basilica of the Holy Sepulcher and resides in the Franciscan Chapel (Mason, 2017). Another part of it was given to Giovanni, Cardinal di Colonna the Younger, by the king of Jerusalem during the Fourth Crusade. Colonna took it back with him to Rome, Italy, and placed it in the Basilica di Santa Prassede, his cardinalate church (McNeely, 2015). This part of the Column is housed in a bronze reliquary and can be found at the San Zeno Chapel.
Fragments of the column of flagellation have been distributed around the world throughout the centuries in ways similar to the True Cross. Above is a photograph of a small piece of the column in a sealed reliquary that comes from Rome.
 The Crusades were a series of nine religious wars that started in 1095 by order of Pope Urban II (Mills, 1820). These wars were carried out to recover the Holy Land and other sacred sites for Christianity from under Muslim rule, which had been in place since the 7th century. It was common practice during the Crusades to translate relics from the Holy Land to Rome and other places in the West for their ‘preservation’ (Andrea & Rachlin, 1992; McNeely, 2015).
Many of the ropes of the flagellation of Jesus Christ that took place during the Scourging at the Pillar can be found at the Basilica di Santa Prassede in Rome, Italy, to where they were translated during the Fourth Crusade. Above is a photograph of a few strands from one of the ropes in a sealed reliquary that comes from Rome.
A bi-ritual Catholic priest and visual arts professor at Villanova University, who studied under the Russian master iconographer Vladislav Andrejev, Cannuli had in 2011-2012 been given the grace by the Heavenly Father to write His icon of The Divine Heart Encompassing All Hearts. He was a part of the Apostolate of the Divine Heart almost from its beginning.
In love with God the Father and Jesus Christ, through the Holy Spirit, God at last granted Fr. Cannuli, aged 72 years, the greatest, deepest and incessant desire of his heart: to see Him as He is [cf. 1 Jn 3:2] and this precisely on the feast day of the Savior’s Transfiguration.
“The Son lives by the Father because He is the Word given forth from the Heart of the Father, because He comes forth from the Father, because He is begotten of the bowels of the Father, because the Father is the fountain and root of the Son’s being” ~ St. Ambrose.