The basic virtue of film is its high realism. Sure, exposed with the tools of Paul Verhoeven. A film about faith, power, manipulation, survive, leadership and a splendid portrait of counter reformation atmosphere, from innocence to faith as refuge , from the discover of lust to the dark side of a person appartaining to one world.
The second virtue can be the impecable work of Charlotte Rampling as Mother Felicita.
Not the less, the performance of Daphne Patakia , remembering, at the first look, Rosalinda Celentano in the Passion Of Christ, mixing wildness and profound innocence, lovely simplicity and fears .
About Virginia Efira , her beauty seems for me the basic tool to build the character. I do not ignore the performance but the beauty represents just the axis for give a fair portrait of Beneditta.
The statue of Holy Virgin was, I admitt, a serious motif to be scandalized . But, in same measure, I see its use as a portrait of lost of the innocence of childhood.
I am conscient than I saw this film as Greek Orthodox Christian . The Catholic world, in so many stories, is discovered in this film almost scene by scene. That is the reason for who I admired its realism. Because it is a panel with so familiar pieces defining, sure, in popular mind, Catholicism.
A beautiful film, having as sin the not most inspired construction of visions. But, sure, the message is the significant one and the large gallery of portraits , few like Mother Jacopa being useful for remind, as delicate sketch, not comfortable truths.
The second virtue can be the impecable work of Charlotte Rampling as Mother Felicita.
Not the less, the performance of Daphne Patakia , remembering, at the first look, Rosalinda Celentano in the Passion Of Christ, mixing wildness and profound innocence, lovely simplicity and fears .
About Virginia Efira , her beauty seems for me the basic tool to build the character. I do not ignore the performance but the beauty represents just the axis for give a fair portrait of Beneditta.
The statue of Holy Virgin was, I admitt, a serious motif to be scandalized . But, in same measure, I see its use as a portrait of lost of the innocence of childhood.
I am conscient than I saw this film as Greek Orthodox Christian . The Catholic world, in so many stories, is discovered in this film almost scene by scene. That is the reason for who I admired its realism. Because it is a panel with so familiar pieces defining, sure, in popular mind, Catholicism.
A beautiful film, having as sin the not most inspired construction of visions. But, sure, the message is the significant one and the large gallery of portraits , few like Mother Jacopa being useful for remind, as delicate sketch, not comfortable truths.