The deprived nun par excellence does not disappoint her fans, in a film where the misdeeds are combined with rich historical reconstruction and well-constructed characters
Publicity for the film advertised: “Excess, misdeeds, crimes”. And unfailingly, Odorisio’s film honours the infamy of the Nun of Monza (a figure of misfortune ever since Alessandro Manzoni’s novel I promessi sposi) with a generous helping of depravity. At first glance, therefore, it is a so-called “nunsploitation” film, a subgenre that likes to attribute all kinds of wickedness to nuns and priests. However, Odorisio takes the simple premise and transposes it into a very attentive historical reconstruction, with wonderfully shot night-time photography, giving us a complex and compelling portrait of a woman. In the lead role, Myriem Roussel continues on her journey down the well-beaten path of religious turmoil that she had already traversed with Jean-Luc Godard (Passion, Prénom Carmen and Je vous salue, Marie).
The 17th century. In a convent, young nun Virginia is feared because of her severity. But an impudent nobleman leads her into a whirlwind of passion and crime.