Rating: 4.5/5
Hooptober 4.0 | 15/31 | Before 1970 3/6
— Every woman is naturally inclined to fall. — But also to achieve holiness.
Father Józef Suryn prays in his room at an inn. The bells toll — a local custom for travelers lost in the forest to help them find their way back. Father Suryn unpacks a whip and hangs it on the wall.
He steps into the main dining hall to see a man. The man watches the father pray before sitting and unpacking some bread and cutting fragile slices. As more guests exit their rooms, they discuss the convent and the rumors surrounding it — that “the devils prowl among the holy maidens.”
They burned the last priest at the stake. The pyre remnants are still outside. The story is that he, Father Garniec, tempted the nuns into sexual activity. Hence, the church has sent Father Suryn to investigate.
Four priests before Father Suryn have tried to exorcise Mother Joan, to no avail. The exorcisms begin when he learns of the eight demons that possess her. History reminds us that such things are rarely straightforward.
There is no truth in this world.
This film functions as a sequel to The Devils, depicting events after Grandier’s trial and death. Both films are loosely based on the Loudun convent hysteria in 1634.
Characters often address the camera directly, switching between point-of-views in conversation. We can watch their eyes and the intentions beneath them, subconscious or otherwise. Sometimes, they will meet the eyes of a character we haven’t seen yet, holding an uncomfortable gaze.
The camera work has a rigid formalism to it. But it allows the moments of flourish and movement to break through and unsettle the quietness.
The absence of a score is perfect. There is diegetic music, but something on-screen always contradicts the tone of it.
Lucyna Winnicka’s performance as Mother Joan is wild.
The third act is where this movie really pops off — some truly unnerving moments and incredible scenes.