Immaculate won’t exactly go down in the books as a nunsploitation but I guess this dress says nunsploitation enduring bland and transcending a point of view. The film is joined by David U. On’s direction, whilst Sydney Sweeney plays Sister. A young woman from Michigan who is first seen making her way to what seems to be a remote village convent located somewhere in Italy she is excited with what God has planned for her, only does she realize that she has to wish wisely all through the film. It is also stuffed with impressive doses of gore. But in some ways, it is also delicately restrained. For all its spooktacular moments, it feels really like an art house film at its core.
“Such a waste,” an airport immigration officer says to his mate after spotting the charming Cecilia and her radiant face. “You’re allowed to go,” says a non-emotional fellow nun (Giulia Heathfield Di Renzi) just before the heroine takes her vows. (“You’re very sweet,” she says as well, but after that, she adds, “So, I don’t envision that as a compliment,” in chilling tones.) Their introduction to the movie begins with a flashback of another young nun seeking to escape the convent at night and being cast amongst a group of dark figures who broke her legs against the bars of the gate.
This is just another narrative of what we have, we are not going to end up in good shape in any way from the time that Cecilia steps into this particular setting. Even though no males are allowed to approach her, church authorities believe that with her inexplicable pregnancy, she has given birth to a savior, transforming a lowly servant of God into a possible new dictator an adored woman wearing overly elegant clothes whose hair is elegantly curled and who is literally placed on a (physical) pedestal.
I have to say that Immaculate was quite captivating throughout especially with the obsession with how the film would serve its florid premise to us. There is no doubt in my mind that the viewer is taken by unflinching naivete in the process. (As we argue unequivocally, the all too dreary distant Italian convent taking centre stage was hallowed by a catacomb and had a nail allegedly belonging to the cross of Christ on it which made things rather palpable.) However, Mohan and screenwriter Andrew Lobel are borderline reckless with their treatment sometimes so much so that the plot methods of what is going on and what Cecilia feels about them are left out in the open to stay uncertain about. (With a delightful running time of 89 minutes, the film is quite by what is required while a lot is left to the imagination.)
The director: Sweeney’s earlier film together The Voyeurs of 2021 is a softer depiction of the De Palma erotic thriller and who also directed an edgy 90 minute romantic comedy called Lizzy Caplan and Save the Date in 2012, all of whom I personally loved has always had an eloquent style of constructing infrastructure but can also tailor enough not to disappoint the audiences in terms of different genres.
So, making a pit stop in Maghrebi Morocco, crazed Diablerie dwelling director Mohan seems to have gotten lost in the East as well. Definitely not cinepanasia lest he goes gung-ho over the 16th century convent setting. Mohan’s cinematography accentuates the cellar aged ghost inside muted backdrops leaving sister Cecilia looking a bit lost but enduring. The decor provides a backdrop for the hodgepodge style that Ed Bates effortlessly blends with his bullish scores from Ennio’s melo magic. Talk about morbid giallo.
What’s also quintessentially giallo is the ever problematic blood pouring out of people’s necks now gory amputation sounds too gory too even hear off to some but Well I imagine it’s a bit of a stretch to label this film full of gory limb ripping and never ending blood sheddikng while never being graphic tantrum attack on Morris less morphy tamer tropes. Yeah I feel Immaculate is still struggling with cross cutting juxtapositional was done between harsh gory cheddar and over the top hvad it’s clearly not spoofed hunting gory cheddar.
On the other hand, the movie does its job when it comes to suspense, as Mohan uses the form to charm us, while the main actor manages to reach us on more basic level. Sweeney’s large eyes, sweet for the most part of the movie, are riddled with rage along the horror that is core part of the movie and this fact is used more and more by the film when it reaches the awe inspiring climax. In any case, the most important thing is that we can see her and it is amazing.
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