If you’re a devout Catholic, or alternatively, just a fan of nuns – it may be worth steering clear of the cinema this weekend, because between the British drama Philomena and Guillaume Nicloux’s The Nun, the church comes under some real scrutiny, in films that challenge tradition and belief, as this French feature paints a somewhat bleak and disquieting picture of life in a convent.
Unlike her two older sisters, Suzanne Simonin’s (Pauline Etienne) parents cannot afford to marry off their daughter, instead forcing her against her will to live at a nunnery. Her agonising life transpires into becoming a tale of three Mother Superiors: the first being a kind-hearted woman who looks out for Suzanne, despite the teenager making reservations towards the church perfectly clear. The second is the vicious Christine (Louise Bourgoin), who subjects the youngster to both mental and physical abuse, while finally we have Saint-Eutrope (Isabelle Huppert), who has sexual desires towards Suzanne, as the unsuspecting adolescent documents her mentally scarring time in a series of harrowing memoirs.
Based on Denis Diderot’s novel of the same name, Nicloux’s effort isn’t actually the first adaptation of this tale, following Jacques Rivette’s controversial 1966 endeavour. Now, almost fifty years on, the themes remain equally as distressing, in a film that carries a torturous atmosphere. The setting, however, is almost enchanting, contradicting the narrative somewhat, with a spiritual ambiance adding a tranquility to a film that is predominantly focusing on tragedy. The sacred music gives this an almost sinister edge too, as we know fully well what goes on behind closed doors.
It’s fascinating to delve into this world from a hesitant, guarded character, as somebody who has reluctantly fallen into this religious livelihood, forever feeling like an outsider and thus representing the detached viewer, learning about this way of life as Suzanne does. It’s a stunning lead performance by Etienne, and one that carries an otherwise tedious and, at times, insipid, piece of cinema. She’s not too dissimilar to that of Maria Falconetti in The Passion of Joan of Arc, which is about as high a praise she could be awarded. Huppert also stands out, playing a character with so much depth and pent up emotion, and yet doing so effortlessly.
Though the original novel this is based on is from 1760, the themes seem equally as pertinent today, as this film is succinctly connected to the contemporary world through relatable themes, as an innocent girl being unfairly mistreated at a convent – tying this film to the likes of the 20th century set drama The Magdalene Sisters (and Philomena, of course). Also, as the Catholic Church is draped in tradition and institutionalism, it makes this film almost timeless. So much so, perhaps we could see another adaptation of this story in 50 years time – and if so, let’s hope it’s somewhat more compelling than this particular offering.
[Rating:3/5]
