
Three monks are making their way from Germany to a monastry in Italy, because they cannot afford the rent for their facility any longer.
Does Vaya con Dios have end credit scenes?
No!
Vaya con Dios does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of Vaya con Dios, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Matthias Brenner
Tassilo

Daniel Brühl
Arbo

Michael Gwisdek
Benno

Hans-Uwe Bauer
Tankwart

Bettina Zimmermann

Ernst-Georg Schwill
Bruder Petersen

Uwe Bohm
Chiaras Chef

Konstantin Graudus
Anwalt

Chiara Schoras
Chiara

Traugott Buhre
Abt Stefan

Christel Peters
Tassilos Mutter

Susanne Scholl
Missionsschwester
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What is the name of the fictional monastic order featured in the film?
Read the complete plot summary of Vaya con Dios, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Three monks from the fictitious Cantorian Order live a quiet, music-centered life at the aging Auersberg Abbey in Brandenburg, a setting filmed at Chorin Abbey. The Cantorians speak Latin and believe that the Holy Spirit reveals itself through music, especially the human voice. This belief has brought them persecution by the Roman Catholic Church since 1693. Only two monasteries endure: one in Brandenburg and the mother house at Montecerboli in Italy. The two houses have not spoken to each other for two centuries because Auersberg kept the order’s rule, Regula cantorianorum, away from Montecerboli. When the last Abt Stefan Traugott Buhre dies, his dying directive drives the three monks to leave their home and carry the Regula cantorianorum with them to Montecerboli.
They depart in search of the mother house, totally unprepared for life beyond the walls, and begin a long trek across Europe. Their journey is interrupted when they encounter Chiara Chiara Schoras, a young journalist driving a classic Mercedes-Benz convertible. The chance meeting is swift and decisive: her car is nudged off course by their presence, and she ends up helping them reach their destination, becoming an unlikely guide to a world far removed from their cloistered routines.
Along the way, each monk confronts a personal temptation. Arbo Daniel Brühl, the youngest, who has spent his life within the monastery, finds himself drawn to Chiara. Tassilo Matthias Brenner, the more reflective of the trio, is tempted by the idea of returning to his widowed mother on the family farm. Benno Michael Gwisdek, a bibliophile, faces a pull toward the Jesuit library in Karlsruhe and its intimidating head, Pater Leis, a figure who once rivaled him in love.
The film weaves a quiet, thoughtful portrait of faith tested by desire, duty, and choice. Across a journey that braids history, theology, and human longing, the Cantorians weigh the price of keeping faith with a vow versus embracing the broader world they glimpse beyond the monastery walls. The landscapes they traverse, the people they meet, and the music that haunts their steps create a meditative tale about how belief can clash with temptation, and how mercy, curiosity, and courage can reshape a life dedicated to ritual.

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